“Jermyn Street, St James’s…”

It is in turning left,

that the cord is cut with the contemporary.

Graphite, cross-hatched with hard-black cement,

sketched by artisans,

touched by global hands,

indented with dust of the centuries.

Sunlight,

Nature’s photoshop, clings to each crevasse,

casting its warm solar wash,

round corners, akin to Rascasse…

Façades and facscias glint in the eyes

of faces,

reflecting on craft’s expertise,

free-floating and hanging on historic air,

as they breeze by.

Working through ‘hows’ and the ‘whys’…

Centred by scent,

sensibility governs respect of the labour required

to purpose bespoke personality.

Channelling rows of embroidery,

stitches so scantily set and refined,

leave a long tale of coloured mosaics behind…

Threads intertwined into conjured creations,

embellished, beyond the prosaic.

Jet joins patina of chestnut,

so lovingly burnished, the polish controlled,

whilst a peacock effect, is adorning footsteps on display,

with a brogue and a lilt

which demands that you move, with a gait that is bigger than bold.

Walk with intention, whilst other folk stroll.

Wind your way up to the stage…

You’re alone, but not on your own…

Got to step right on, with heart and with soul…

… slink with the cool cats and kittens,

who strut in a program of head-to-toe glamour and glitz,

spritzed in House check,

decked-out in exclusives…

A menu of tailoring,

linear, monochrome, neutrals and flashes of brights…

… finished in detail,

the process, of which, is a mastery of the tradition,

time-honoured technique,

that appears to be married to something elusive.

Front-row patent,

viewing heritage and legacy,

basking in the glare of shining novelty.

Perfected in ateliers’ secrecy.

Inventive collections of structure

and

sheer,

living poetry.

 

 

©A_F_R_O_W2018-2019. All Rights Reserved.

MATT GOSS: From Backstage To Centre Stage!

Question.

Can internet shopping reduce one to tears?

Answer.

Yes…well…very nearly!

It started at 10 a.m…

The quest of initiating the greatest baptism-of-fire, known to this human…

… Attempting to purchase tickets for soundcheck-to-performance coverage of “Matt Goss at The London Palladium”!

It continued with logging on…

… and furiously pressing buttons to try to search options, select options, select one ticket, rather than two… to refreshing the page and losing the better seat… to trying to figure out the best time to go…. to verification, to the elation of being told, in the blink of an eye (or was I, actually, blinking back the, aforementioned, tears?!) ‘You’re In!’….

Could this be what buying a house, instead of renting, in this day and age, was like? Would this be akin to saying ‘Yes‘ to a, long-awaited, wedding proposal? The sharp intake of breath before making the commitment? I looked forward to finding out… But for this morning, it certainly seemed that way!

Yet, I knew that I could not be nonchalant with this system of buying goods, nor with the fact that I was sprinting to the finish line, arm-in-arm, alongside, potentially, thousands of other ticket-hungry customers… who, in this case, were sure to be the mighty and dedicated “Matt Goss Army”, a.k.a ‘MGA’! They have their own hashtag. They are a force of the most empassioned followers, supporters and family of a public figure, whom I have ever encountered.

They have my respect!!

Sat upon the cloud of my thoughts, the sunshine reality dawned… that the deed had, indeed, been done!

The show in which Matt, himself, said he’d ‘let loose’ would have yours truly, in attendance… but for now, in anticipatory wait, like a Tour De France lead-out, until the day-of!!

The fact of the matter was that I needed to be there….

…To experience who Matt Goss was and what it is about him that reduces people to the most exuberantly, knee-quivering wrecks of their, usually put-together, selves! Furthermore, how had his artistry changed…. because the scale and reach of his creativity certainly had.

This year seemed to be the peak of his first Everest.

A build-up, which has seen him increasingly invested in an interdisciplinary mode… showcasing the expansive nature of his talent and the unlimited mindset upon which it is founded.

From ever sought-after, often sell-out, concerts, which unfurled the newly-crowned “King of Vegas”, to hugely popular radio broadcasts for the BBC, Matt Goss and his undeniably suave onstage persona, has been thriving… Hard work keeps paying off… and the investment has segued into festivals, films and musicals… All in celebration of his comprehensive reinvention and determination to never surrender the Dream… to do more, be more, share more… which makes utter sense, for a man who describes ‘prolific’ as his current music-making status… Having, now, seen the evidence, in up-close-and-personal manner, I am, even more, in agreement.

You see, in my life, I have always been an observer… and yet, a doer, in order to articulate a core message, especially when it is Creatively called-for.. Whether Writing, Acting, Painting, Modelling, Movement… once it serves the deepest notion of the piece, I’ll go there. True-to-form, I watch closely, backstage, as Goss meets and greets his adoring MGA, with gentlemanly grace and a large dose of South-East London banter! Even in soundcheck, he is, not only, scintillating, but also engages with each song, in the authentic passion of the moment. No dilution. No dialling-it-in. His energy is focused and his aim is true – to reach out and touch the hearts of those around him… Audience, band members or backstage crew.

It is refreshing, as it is inspiring.

He is old-school… and that isn’t a generic throwaway, due to his often Rat-Pack compared, Vegas incarnation. You feel he has been raised-up around a sensibility of another age and, though he is older, he has never departed from it… The swagger, swing and sway are him… He is that immaculate. His tuxedoed vogue, reflects it… With that being said, he’s more than a little bit new school, too, and is just as at home, in looks of a more casual air, hence the black, unbuttoned shirt and sequinned-trouser combo, worn with effortless modernity and tatooed edge, for the show..

… which was an absolute show-stopper from start to finish!!!

Supported by the superb NHS Choir (in veritable homage to his literal roots, having been born in Lewisham Hospital), the undertone was specified, that, no matter how raucous the night, at the foundation and throughout the ensuing hours, would flow a deeper, conjoining spirituality.

I’d never been a part of anything like it!!!

For all of the 30 years celebrated within the Recording Arts industry, what I witnessed was a man, unbound and unbridled, onstage… For Matt Goss doesn’t simply display his craft, he communicates an undeniable freedom, indicative of an artist who is thriving upon expressing the greater awareness of all he has come to do upon this planet. You sense that he isn’t trying to justify his ability, but revelling in this new phase of creative prowess… and how we all benefitted from this unleashed emotion.

It’s not that he doesn’t care… because he, undoubtedly, does, with every fibre of his being… It is that he is free of care!!

Throughout the set, which moved relentlessly through Vegas stylings of “Luck Be A Lady” and “Hotel California”, pinballing from decade-spanning hit after hit, including “I Owe You Nothing” and “Firefly”, and raising the roof with the on-trend, 2018 summer smash “Red Flares”, he brought the house down with the tear-jerking “Are You Mine” and sing-along-inducing “Just For A Change”, in which the community of Matt’s family-of-fans truly shone. Led by the maestro to follow his lead, the MGA chorus filled the Palladium with stirring pride and searing passion… reflecting back all that he and his incredible band had given. For me, it was just the most beautifully moving, “you-had-to-be-there“, moment…

In fact, the entire night was a fantastic and unforgettable voyage…

I came, bearing gifts, but got so much more, in return…

On one level, was a distillation of profound acknowledgment, that there need be no limit to ambition… Yes, Matt loves what he does and who he is… as do so many others… and, to my mind, he has every right to do so. In diversifying upon his path, the articulation of each strand to his creative bow seems to bring deeper satisfaction and his generosity, humility-of-spirit, vulnerability and strength, in the giving of them, facilitates the same in others.

Yet, this experience took me to another level, because I was blessed to be amongst the constellation of fans, in his amazing, Gossy sky, and the jet-lag I felt, on returning home, was indicative of the fact that, for one night, I had been transported to another cosmos, of an incredibly rare and unrivalled atmosphere…

…Here’s hoping he comes back soon, because I, for one, look forward, excitedly, to making a return visit…

…and, just for the record, Matt Goss is back…

but he is moving rapidly forward on his Artistic Mission and, to those who have been with him throughout his ups, downs and turning points, (some of whom I had the distinct privelege to also meet and greet), and his newfound appreciators, he never has been, nor is he ever going, away….

 

 

©A_F_R_O_W2018-2019. All Rights Reserved.

“VIP event at G.H. Bass & Co. hits high note!”

So, I’m struttin’!

Not quite, Danny Zucco, but I could give him a run for his money, in a Zoolander-style face-off!

….And I’m singin’!

…Not quite Bee Gees, but “me and my ‘Weejuns’, walking down the avenue”, consistently reverbs around my mental recording studio, waiting for release!

With nonpareil London as my runway, I am taking in some of the fashion and fayre of designers in our glorious city, en route to a very special event… and after patiently waiting, all lovingly pre-polished and wrapped in their ‘G.H. Bass & Co.’ box, the night hath arrived upon which my “Penny Stardoms” have their moment to shine!

“They see me strollin’ but they’re not hatin’!” now pops up, as the next remixed track in my ever-expanding mental E.P.!

As I engage upon my window-watching style-sweep, I have to say, I’m loving what I’m seeing! From South Molton, via Regent, through Carnaby and finally, to Beak Street, illustrious brands sit side-by-side, with crackling come-up talent and I am enamoured with it all! ‘Browns’, ‘Berenice’, ‘Hobbs’, ‘Hill and Friends’ effortlessly envelop, as heritage hits abound, with ‘Aquascutum’, attached to ‘Barbour’ and ‘Barker’, ‘French Connection’ connected to ‘COS’ and ‘Karl Lagerfeld’, only to turn-on-a-penny (loafer, if you will!), to find ‘Liberty’, presiding over the edgier end of the shopping district, with a select edit of artisanal offerings and collaborative graduate installations, from future trend-setters of the London College of Fashion!

Carnaby continues to cut a distinctive dash, with a multi-faceted lay-out of names, carving out back-catalogues of creative culture, whilst impressing the ever-changing moods of the current. Mod meccas, ‘Pretty Green’ and ‘Ben Sherman’ hang-out with skater-staples ‘Vans’ and ‘size?’…. whilst ‘We Built This City’ adds a cool artistic flair, no less in keeping with the understated chic of such a fashion-forward thoroughfare…

…the end, of which, is just the beginning of an evening, which encapsulates the perfect combination of venue, vibe and VIP!

Home of the loafer, ever my dream footwear destination, G.H. Bass & Co. and I are reunited…and it feels so good…. And why not?! If they were good enough for the genius of Michael Jackson to have thrilled us all with his trademark Moonwalk, then they’re great enough for my two-stepping!

“It’s been a long time (since fitting for my ‘Stardoms’)… I shouldn’t have left you…” cranks up to Eric .B. and Rakim… but the welcome is, as ever, super-warm, with hugs all-round! You see, for me, this is more than a shop. More than a generic footwear retail establishment, implanted on a trendy side of town. For me, it’s walk-in wardrobe goals! A penny-loafered-palace, a tasselled boot-ique, with variations on a theme, and then some! In its location for two years, the discerning and diverse amassed following is, not only, well-deserved, but well-won, due to the incredible hours, input by a truly dedicated Bass Europe Team.

Tonight, the set-up is an extension of its unique visual merchandising, comprised of wonderfully-worn wooden floors (suggesting the loafer’s Norwegian roots), juxtaposing metal corrugation, historical artefacts, (displaying its celebrity provenance), contrasting with contemporary periodicals and, bien sûr, an array of outstanding, hand-crafted icons…

As bespoke cocktails flow and script-flipping ambient house music fills the atmosphere, tonight is affording guests the opportunity to check out new additions to the collection and have their Bass ‘Weejuns’ personalised, by the immensely-talented illustrator, Anastasiya Levashova. From a subtle selection of custom options, including ornate monogramming and/ or delicate flora and fauna, her precision-painting ensures that each pair is transformed and set apart from any other marque, let alone, house style!

With no more need for internal audio accompaniment, I find myself, instead, using the brainpower to question “What would Pauline Black do?!” She, the dynamic lead singer of Ska supremos, ‘The Selecter’ and  maven of Mod…. which design would she… select?! I mean, in a world where shopping lanes seem laminated with labels, G.H. Bass & Co. is comfortably a cut-above…the beauty being that with every pair, whether customized or not, their idiosyncratic pedigree guarantees that you feel exceptional, too…

“So”, I continue to muse, ”how do you add to perfection?!”

Thrownback to the eclectic typography of the many a-maz-ing two-tone bands to which I was exposed as a growing fashionista (think, ‘The Beat’, ‘The Specials’…), I had to go for the monogram… and in less time than it takes to sing a verse of “Too Much To Young”, my top-notch two-steppers had become hype, hot-steppers… and as the party wound down, with more goodbye hugs shared, I made my way into the remainder of the awaiting night, with the hit Ini Kamoze track blaring, stereo, in my mind… and a bonafide, one-off experience indelibly-etched upon, both, my swaggerific shoes and my super-happy heart!

 

©A_F_R_O_W2018-2019. All Rights Reserved.

***

G.H.Bass & Co. UK & Europe

35 Beak Street, Soho, London, W1F 9DP

Twitter: @GHBass1876   Instagram: @ghbass1876   Facebook: GhBass1876

***

A_F_R_O_W-Applause and Appreciation to Team G.H. Bass & Co. UK & Europe, on hosting a night, as totally one-off, as your incredibly bespoke brand!

 

“The Power and Glory of Balenciaga!”

“Balenciaga: Shaping Fashion” at the Victoria and Albert Museum, is a veritable rhapsody.

A rapturous round of applause to the unmitigated guile and talent of a supremely-gifted tailor and cutting-edge innovator.

Laid out over two amazing floors of crystal-clear creativity, a culmination of past, present and future clauses of the highest quality design are seamlessly-rendered, through quintessential craftsmanship and ground-breaking technology, as only the V&A can do!

From the tenderest beginnings of a Cristobal, who is born in País Vasco, Spain, raised against the backdrop of a consummately-skilled dressmaking Mother and instructed under the tutelage of only the very best in their respective fields of design, to the Master Couturier, in his own right, it is an utter delight to quick-unpick and unpack the realm of raiment which would see him thrust into the fashion foreground and remain there.

Breathless, at every turn, am I. Inspirational in every era of his existence, was he.

Moreover, this exhibition is a power ballad to sartorial intent…

…the curation process, of which, began in 2015 and reaches its maturation in an assemblage which extends beyond the ‘comprehensive’, but is deep-dyed in its sensitive depiction of a uniquely imaginative and inventive world.

From the lab-coat efficiency of pattern-cutting precision (which we might now call ‘minimalist’), to the command of experimental flights-of-fancy (which we might now call avant-garde), the genius of Balenciaga is honoured, with the finely-tuned accuracy of the Maestro, himself. It is effortless glamour-on-demand!

Rather fitting, then, that the ground-level should be sprinkled with the glitter of socialites and movie-star patrons, such as Anne Bullitt Biddle, Elizabeth Parke Firestone and Ava Gardner.

…Toile-to-attire, the entire archival lay-out is akin to the ultimate ensemble…

Yet, not to be outdone by such levels of haute grandeur, the inclusion of C21st advancement is employed, with distinct aplomb. Not only do dress-making demonstrations adorn expansive HD screens, but, on ascending a staircase as grand as the pinpoint pick-ups of a couture wedding gown, they continue to be displayed upon the vast columns of the V&A, itself. Further revelations of the boning construction which lies beneath the gowns, are discovered through inspired collaborations between The London College of Fashion and X-Ray photographer, Nick Veasey, respectively. Each technique serving to enlighten the creative process in all of its methodical glory, acting like a hand-through-time in enlisting modernity to mirror and reflect the labour of love which it took to create, then, and disseminate Balenciaga’s originality, now.

 Earnest testimonials from couturiers and contemporary designers throughout the timeline, signify pertinent reminders of the extraordinary profundity and reach of Balenciaga’s influence. As if his, own, dextrous fingers had extended through history into the gloves of their giftings, such stand-out creators as Molly Goddard, Simone Rocha, Josep Font and J.W. Anderson recall, not only, his pure innovative power, but the exact point of departure for its impact in their own lives, let alone practice… although, it soon becomes clear-cut, that the two are, most definitely, one-in-the-same…

… which brings a romantic reciprocity to the story… for the glorious Balenciaga blueprint is bold and beautiful…the perfect parure… an unmissable suite of style, woven into every echelon of fashion finery, from menswear to womenswear… and echoing through functionality, from sportswear to eveningwear, with architectural sensibility.

All-encompassing proof, if proof were necessary, to “[re-assert] the fact that he’s not just shoes and handbags, he’s so much more”*…

…and always will be.

 

©A_F_R_O_W2018-2019. All Rights Reserved.

***

“Balenciaga: Shaping Fashion” is on now, until Sunday 18th February at the V & A.

~

Quotation Credit: * Cassie Davies-Strodder (Curator)

 

 

“Katharine Hamnett gives ‘Liberty’ to captivating SS18 collections!”

Nights like this should not be reserved for sleep…

… Not when you have had a meeting of minds, hearts and souls on monumental scales…

…and all in the premium package of the eagerly-awaited launch of Katharine Hamnett London’s SS18 women’s and menswear collections…

It takes someone truly revered to draw a crowd such as congregated in the hallowed halls of Liberty London’s lower ground floor. Place “Katharine Hamnett” into a sentence with a bona fide, high-end retail treasure of this great capital, and, together, you have the cadence of perfect creative alchemy, epitomising Balance…. Harmony…

….which neatly summarises the most captivating capsule collections of dreams… (that is, if I were to succumb to sleep!)… However, as stated, tonight is not one for repose, of any kind!

Having arrived early, it is still a veritable hive of organised activity… From re-merchandising to maximise optimal exposure of every piece, to hoovering the most out-of-the-way corners, nothing is left to chance, in achieving the flawless, final look. To say that the hard work paid dividends, would be a vast understatement, for the mission was more than accomplished!

 I am cordially-greeted by Janine Constantin-Russell, General Manager of Liberty, and immediately taken aback by her generosity of time taken out of overseeing the build-up, to talk all-things “Hamnett” with me! Even more delighted was I, to be conversing with this lit-from-within energy, herself as excited as I was about the need for such a grounded presence to be back, once again, so rightfully, front-and-centre. Sparkling with expressiveness, vis-à-vis collaborating with the prestige label on such an auspicious launch, Janine encourages my taking a tour, to see the gorgeous results for myself and so, I promptly set off on my voyage of discovery!

In an atmosphere replete with swirls of hiphop-jazz, my initial walk-through to get acquainted with the latest sartorial offerings from the living legend, synonymous with ubiquitous style, was like a fresh breeze through the beautifully-landscaped garden of menswear. From Lanvin to Loewe, Thom Browne to Burberry, Marni to Moncler, Hamnett’s re-entry into the design atmosphere is rife with delicate defiance, in the swish of one organic silk shirt.. or the sharp swoop of a billowing, full-length, draped dress.

Slogan Tees are refreshed, with hard-hitting, visual exclamations to address the “now”, such as “Protest And Survive” and “Women Against War”, bringing to an end the misconception that silence is easy… As Katharine so eruditely put it, “We have to up our game, as we aren’t achieving very much, considering the amount of man and woman-hours that have [already] gone into fighting.” In accordance, both collections are steeped in revolution and the messages carry as confronting a narrative, as the days in which 80’s pop phenomenon, “Wham” boldly proclaimed “Choose Life”, whilst gleefully waking up musical empires on both sides of the Atlantic!

That the collections should be so deeply-embedded in such a spirit of the indomitable, should come as no surprise. It is well-known that Katharine Hamnett has always been ahead-of-the very same game, socio-politically, economically and creatively. Her battle to imbue the fashion system with the plausibility of sustainability and fighting for the human rights of those within the supply chain of production… has been her clarion call… Her voice has continually chimed through the annals of design to a point, whereby, ethical practice is, now, beyond an intangible vision and is an actual, going concern.

Enthusiastically-steered through a fascinating life story, filled with industry anecdotes of both, the glamour and the grit, by British Vogue’s esteemed Chief Critic, Sarah Mower MBE, who was pristine in Celine, the fact that “it all came too easily” was a testament to the authenticity of truth which runs through Hamnett, like a rod of iron. So-much-so, that she could be the real ‘Woman of Steel’, what with her proverbial determination to change the world-at-large, by changing the world around her.

Recounting, at blistering pace, that her production process is “paraben-free, [with] no heavy metals”, is just the preface to an inventory which includes organic cotton, “certified by Diamond Processing” standards, silk, which is “about as clean a fibre as you can get”, “nickel-free zips, [because] nickel is poisonous” and an endless quest “to find more sustainable fabrics, as techniques develop”. Further insight into her supply chain being the “Made In Italy”, export route, affords her the opportunity to “stick [her] nose up to anyone who talks about trade”, in addition to promoting and benefitting from their artisanal passion, “know-how, legacy and technical expertise.”

The superior quality of craft on display in the exposition of her new season selection, is undeniable evidence of this specialist provenance. From the considered nature of precision-pleating, on the wide-legged khaki trouser, with double-buttoned front and notched-back waistband, with slim-leg, ankle-skimming lengths, the wondrous working of a tissue-fine silk shirt, with an, ever so gentle, high-low hemline, to the perfectly-tempered palette of lightning white, through super-jet black, energised by richest reds and texturised by stonewashed denim treatments, the Katharine Hamnett man is spoilt-for-sophisticated and understated choice!

This same exacting, yet, polished prowess is celebrated in a Katharine Hamnett woman, who is savvy, edgy and endlessly elegant. The slogan “Maggie” Tee, which was fabulously-styled and modelled as a T-shirt dress, will fast need replenishing upon the rails, as will the stunning gold jumpsuit and, my personal favourite, the floor-sweeping, fire-engine red, puff-of-a-gown, with deep, plunge-front and back neckline…as ready for the red-carpet, as for the beach-front after-party!

It is all as impressive as her unconditional covenant to create, in order to benefit the greater good and embolden others to, similarly, make their voices heard. In a time of “freefall manufacturing, cheap labour and bad labour”, the crusader for social justice entreats the amassed assemblage of admirers to put literal pen-to-paper and compose letters to those who are paid to represent us, as well as to those brands who could and should make vast improvements, with regard to recognising and lessening the negative effect of their ethical footprint upon, both, people and the environment. “They’re trying, but they should be trying harder and faster”, not only summons affirmatory nods, but also gives rise to further adoration.

Questions from the floor prompt reiteration of the Katharine Hamnett stance towards making sustainable fashion more affordable and accessible… that of “better prices, with bigger production… online [to avoid extra capital costs].” However, it is her vocal nod to the lengths to which award-winning proponents of the circular economy, “Rapanui Clothing”, will go, in order to manufacture and deliver her T-shirt lines, which seems to, most, touch those in the room. Describing the “adorable” enterprise as “a perfect prototype of a C21st company, based in the Isle of Wight” is high praise, heartfelt recognition and truly symbolic of someone who “collaborates with anything that’s exciting or touches [her] heart.”

It is also indicative of her humility.

She seems oblivious to the attention which revolves, tornado-like, around her.

Absorbing selfies with timely patience and grace, she is pure, radiant class, with the spirit of a lioness, within the physique of a prima ballerina. Effortlessly-chic in black-out shades, nothing looked cooler than sharing a camera-frame with her, nothing more inspiring than observing her, back in her artistic habitat…

…and whilst her name might end “CBE” (Commander of the Most Excellent Order of the British Empire), when asked the final question of how she would like to be remembered, she pauses and, with what must, surely, be accompanied by a twinkle in her concealed eyes, she cheekily replies “Watch. This. Space.” I, for one, cannot wait to see what this visionary next devises but, in my heart, I believe that the acronym will signify the success of her unrelenting message and stand for ‘Choose Buying Ethically’!

 

©A_F_R_O_W2018-2019. All Rights Reserved.

***

Katharine Hamnett London ~ Katharine Hamnett (Facebook) ~ @katharinehamnett (Instagram) ~ @khamnettlondon (Twitter)

Liberty London ~ Liberty London (Facebook) ~ @libertylondon (Instagram) ~ @LibertyLondon (Twitter) ~ Liberty London (YouTube)

Rapanui ~ Rapanui (Facebook) ~ @Rapanuiclothing (Twitter) ~ Rapanui: Sustainable Fashion (Google+) ~ @rapanuiclothing (Instagram) ~ rapanuiclothing (Pinterest)

Sarah Mower MBE ~ @sarahmower_ (Instagram)

***

Wholehearted @A_F_R_O_W-Appreciation goes to Katharine Hamnett CBE, for her utterly impeccable collections, relentless inspiration and unswerving passion for contributing towards a better world…to her team at Katharine Hamnett London, who faithfully facilitate her creative and societal vision, to Janine Constantin-Russell and the absolutely fastidious Team Liberty, for extending such congenial hospitality and creating a truly unique and outstanding event, and to Sarah Mower MBE, whose lively repartee and unabated dedication to the quest for talent, catalyse that of my own, ongoing editorial development.

 

 

“Un grand ‘chapeau’ to VV Rouleaux!”

I am Alice. Self-titled. Hear me roar!

I am striding towards my hypothetical wonderland.

I reach a literal treasure trove of Arts and Crafts.

I meet a modern-day Titian, a holidaying American, a collective of creative guides.

I am led through the open pages of this story-book establishment…encompassed by feathers that flutter and fashion, oh my!!

Vintage, contemporary, tassels and pom-poms, twinkling, sparkling… I am enveloped within the beating heart of a life-sized trinket box!

I am in maker’s heaven!

Yet…for all of the fantastical frou-frou, quaint this working atelier-cum-accessories hotspot could never be, as I am at the legendary VV Rouleaux, being escorted to my home, for the foreseeable… which is sure to be the ultimate venue, for a morning of marvellous millinery!

Perched at the end of a distinguished wooden table, with my creating companions, I pause to imbibe the sounds… Momentarily, my mind is elastic enough to breach the force-fields of time and witness the whispers of a tree which was to become the support for so many anticipatory participants before me… Looking up to the blue sky, it would be destined to carry the weight of future blue-sky schemes, being sedulously sculpted in ‘sinamay’.

Yes, “sinamay”, announced the voice of Faye, our esteemed mentor, was to be the material of choice… A banana fibre, not keen comrades with, either, humidity or precipitation, and my introduction to the ‘freeform’ method of hat-design, from ‘curling ends’, through stitching on the hat-base, to the execution of especial embellishment!

More memory-scapes emerged… rifling through my love of design, like back-copies of make-do-and-mend magazines. My first sampler, my first print, my first embroidered tote… Vivid 3-D images in multi-dimensional pop-ups held me in history, whilst the scent of Earl Grey tea had me winging my way back to the present.

Something about the beauty of the unknown inspired me to entrust Faye with the size of sinamay which I would be working. Although, in theory, the smaller the piece, the better, I was ready to face the challenge of a larger cut… and so it began… the blush-pink medium, cut on-the-bias to facilitate the curling process, with which to fashion my one-off fascinator…

Water was to be utilised. Water was to be respected.

Too much would become the arch nemesis of the technique, rendering it too soft to turn. Too little, and the fabric would not yield… in effect, becoming more free-from, rather than free-form! I was to learn this, friends, as the supple, became the squidgy, in quick succession! Faye had made the method a constant motion of contemporary dance. Under her haute handiwork, tight curling transformed into abstract curvature… I was, initially, all fingers and thumbs, until the recognition of my favoured direction to loosen the edges, before performing the process of rolling, became apparent! Ever the eternal voice of positive reinforcement, Faye advised that 1cm was the optimum size in order to avoid fraying or breakage… She also reassured us that there was no rush, which made utter sense to me, as my joy was in following the fibre… letting it show me the way, rather than coerce a structure.

I cannot recall it… but, at some point, my Titian-haired and American associates had turned their talents to the business of sewing the initial element of their works-in-progress onto their selected bases…always using new thread, as previous lengths left on needles might be damaged..

Hats were blossoming like a mixed meadow of midsummer flowers… and it was such a pleasure to behold the exhileration with which they began to observe the best positioning for the final placement of adornments.

My vision and, thankfully not my edges, unfurling, I felt a contrasting black base necessary, so as to blend with my darker hair colour and highlight the blushing pink hue of my creation. Owing to my enthusiasm for embroidery, I knew that I would tackle the next task with greater confidence, which had grown with my achievement of overcoming a brand new modus operandi of making! Sinamay resembling a lotus shape, Faye demonstrated how to navigate the undulations of fabric, setting me free to fix the components together with nigh-on invisible stitches… Very satisfying!

My adrenalin on the upswing, I moved on to the moment which had been filled with such promise… That of sifting through such an array of ornamentation, in which I could have happily burrowed down and nested! I blinked-back shiny, smooth, sparkling… pastels, purples… neutrals, nickels… gold, gold and more gold… All, of which, would suit any personality trait… All, of which, to me, spelt glamour, glamour, glamour!!!!!

“Nothing is too much!” was jettisoned into the air…

…and it took extreme discipline, on my part, not to apply that approach to what was taking shape! However, jet black leaves with subtle sequins shouted louder and I dared not resist… I did strike-a-pose or twenty-two, yet, rather than rush the finale, I took all of the necessary accoutrements with me, to add the finishing touches in my own time…

…which was the first time I was aware of it slipping away…

…and as I bid my farewell, VV Rouleaux bag in hand, I realised that the best take-away had been the luxury of spending a Saturday morning, not simply sharing a love of learning, but learning to love the simple joy of sharing, so much more!

***

©A_F_R_O_W2018-2019. All Rights Reserved.

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Click through for more information about all of the fantastic VV Rouleaux workshops/ events!

VV Rouleaux, 102 Marylebone Lane, Marylebone, London, W1U 2QD

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Deepest A_F_R_O_W-thanks to Faye and the Marylebone Team for such a superb session and to fabulous Lucy, for the lovely invitation!

 

 

 

 

 

“Five Guys” party leaves you wanting “Moe”!

“I’ll never forget the excitement with which my musicals-mad Brother burst into the house, words spilling swiftly from him and filling the atmosphere with pure exuberance!

He had just returned from seeing the original presentation of a hit show, intriguingly entitled “5 Guys Named Moe”… and, for a moment, I truly believe that he, himself, had been dusted with dance-steps, as he couldn’t stop moving and enthusing about it…

The West End had been bowled over by an infectious party vibe, simply oozing the epitome of slick, combining hi-energy music, movement and accomplished acting!

I, meanwhile, was desperate to get a slice of the pie, which had my big Bro spinning like the proverbial top…. and, so began an affection for what the Arts could inspire, in just one evening!

Roll on a few decades and I find myself the one who has been swept up into the pre-show anticipation for, yours truly, would find herself in unique edifice of The Marble Arch Theatre, in-the-round… urging the artists to get the 2018 party started!

Yes, it was my turn to see the new 5 Guys!

Now, being so close to Mayfair, it was a thrill to take in a gentle sojourn within the eclectic environs of ‘Boisdale Restaurant’… How wonderful to be ensconced in this Scottish family-owned establishment, where the intimate atmosphere is one of front-room privacy, with an open-door policy to all-comers. How refreshing to be descending an LP-lined stairwell and shown the cavernous lower deck of “The Vinyl Bar and Groove Room”, where guests can while away the hours to shellac-soaked DJ sets, re-surface to live music and then, turn a corner, to encounter a splendid, split-level dining scenario. An amalgamation of secret worlds, hidden in plain sight, it is the perfect dessert island for a sweet-tooth, such as I! Were it not for the prospect of fulfilling a childhood dream, I would have reclined further into the arms of my comfy corner…yet, parting held less sorrow, due to the jazz, jazz, jazz that was jumping through the air… which would be quite the intro into my next musical milieu…

Matinée this may have been, but, as with the best of creative experiences, the time makes no difference, the audience number makes no difference (although, as far as the eye could see, it was a sell-out!)… when the lights go on, you’d better be ready to turn up for the business of show!

… And that, dear friends, is exactly what took place!

The one-and-only Clarke Peters, (he of the, seemingly, endless, stellar acting resume!) and former member of the original dazzling incarnation, which had so many in a spin, adds to his credits, by taking the directorial helm. The influence of his multi-disciplinary artistry is passport-stamped throughout the journey of the production. It is as if his soul were integrated with every fibre, of every number… his spirit inscribed in every dance routine!

The action was to take place in ‘The Marble Arch Theatre’, a location akin to a flat-pack, fold-out template, except of ‘Tardis’ proportions… But Ikea, this ain’t, honey! Oh no… this is the height of ‘purpose-built’, for a very definitive reason!

The deceptively-sparse, speakeasy set was amphitheatre perfection, in drawing the audience closer to the action. In order to accentuate the 360-degree effect, a great visual point-of-reference was a circular travellator-stage which rotated between inner and outer seating circles… meaning that, cleverly, the concept of ‘rows’ simply didn’t register. It was a superb mechanic with which to suspend reality, unite us all, and facilitate us swivelling in our seats, as if in trendy upmarket office chairs!

I relished the fact that, at no point, did I feel as though I were simply an observing part-of-the-furniture!

Quite the opposite, since, at this all-encompassing gem of a jamboree, we all felt part of the production, which upped-the-ante, where audience participation was concerned… From semi-skatting ”The Calypso BeBop”, to the collective conga, any nerves were assuaged by the excitement of lyrics literally falling, confetti-like, from the rafters accompanied by a rousing Caribbean rhythm, respectively.. and that was just Act One!

Notwithstanding the twenty-minute interval, this theatrical train rarely, if ever, decelerated.

As for the actors, they were swan-like… Hardly pausing for breath, they appeared to glide through proceedings, as smoothly as their dance sequences! Show-tunes were, at once, belted out with grit and gusto, whilst wistful with vocal reminiscence, so as to project pain and pathos, with tender poignancy. The clarity of narrative being served, par excellence by a company of players, both, front and back of house, at the apex of their collective game, optimising the entire arc of the engaging plot…

…which begins with our protagonist, “Nomax”, who is a washed-up, maxed-out drunk, becoming increasingly beholden to his vices. The worse for wear after yet another stint of night-life and libation, he is still intent upon continuing to party hard… Enter stage left, right and centre, five guys named ‘Moe’, with a short, sharp, shock of an introduction, determined to stop the downward spiral of women and wine, with song and dance… hopefully leading to redemption with Lorraine, the real love of Nomax’s life.

Edward Baruwa portrays the vexed, perplexed and dishevelled soak with distinct aplomb. The 5 Guys, “Little Moe”, “Know Moe”, “Big Moe”, “Four-Eyed Moe” and “Eat Moe” played by Idris Kargo, Dex Lee, Mykal Rand, Adrian Hansel and Emile Ruddock, sparkle like the best, vintage champagne, with soul-filled melodic recitations, as warming as a far-flung beach destination and as crystal-clear as the blue sea lapping upon the shores of their vocals.

Snazzily-dressed in the sharpest of threads, the Guys cut-a-cool-dash, in outfits, beautifully reflective and celebratory of the era, in a rainbow of coloured and textural references. For example, such bespoke stylistic touches as a punchy plaid for “Know Moe” and luminous lime-green circular spectacles on “Four-Eyed Moe” customized each quirky character trait with class and distinction. Synthesizing this attention-to-detail towards apparel with that of the choreography also made for impressive visual imagery. The finesse of Fosse under the spectrum spotlights gave way to full-on, Nicholas Brothers, at fever-pitch! The moves weren’t just slick, they were oil slick… and the more experimental they became, the better! Often weaving about the space with the ease of a shuttle through an antique loom, physical theatre was playfully explored, to powerful comedic effect. Yet, for all of the eye-catching clowning, moments of mimicry and mime, innovative transformation of props, the artistic intention was nailed, with every well-honed high-kick and picture-perfect pose, worthy of, undoubted, hours of relentless rehearsal!

Binding together this colossus of an ensemble endeavour, was the, simply stellar, jazz band… Silhouettes, but ever-present, behind intricate curtains in Act One, they dazzle during the overture in Act Two. No longer the exuberant, yet, enigmatic shadows, they become the main attraction, delighting us with samples of scintillating solo virtuosity, before receding, once more, into the ether of the energetic Louis Jordan-filled score… Out-of-sight, perhaps, but never out-of-earshot!

This put me in mind of another late, great Louis…namely, Armstrong, who once said “If you have to ask what jazz is, you’ll never know!”* Well, forget what you think you know, because, mark my words, you will get right-royally schooled by the majesty of this five-star musical… Compact, yet languid, fresh and free, this was total, high-impact theatre, awash with innovative twists and turns…

Yes, believe the hype, friends, and get down to The Marble Arch Theatre because I love, love, LOVED the rip-roaring rollercoaster ride through the age, with the 5 superfly Guys Named Moe and a standing ovation of satisfied, fellow theatre-goers emphatically agreed!

©A_F_R_O_W2018-2019. All Rights Reserved.

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Click through for booking information about the smash hit show “5 Guys Named Moe” !

Deepest A_F_R_O_W-thanks to:-

Boisdale Restaurants, Team @Bubblz_Gigglz, Chloe at G-Gee PR and The Marble Arch Theatre for organising this outstanding, interactive experience!

(*Quote taken from www.brainyquote.com).

 

 

 

Private View: ‘Pink Floyd: Their Mortal Remains’ Prog-Rocked my world!

Remember the great old days of the multi-player grams?

In essence, when one 7-inch had played, the next would fall into place, in wait for the needle-drop which, in-turn, had the listener on the edge of their seat, anticipating three-minute hedonism…The comforting, rhythmic crackle of the revolving disc emitting through the speakers, accompanied layer upon layer of delicious acoustic nirvana…

Similarly, ‘Pink Floyd: Their Mortal Remains’ at the Victoria and Albert Museum is an absolute layer-cake of multi-media escapism!

Thus, do not attempt perfect recall…. Simply receive the state-of-the-art Sennheiser cans, turn on, tune in and rock out!!

Far be it from me to suggest you turn up in your best swimming ensemble either, but I am charging you to ready yourself to dive into the deepest end of your psyche than, either you realised you could, or ever knew existed!

Yet, have no fear!

…Just don’t be surprised if the self-contained audio frees you to such an extent that you get raucous in your own mind, then get loose and strut like a star at your own concert!

F.Y.I…. Lay-out, unnecessary.

Simply, follow the cleverly-integrated repeat motif of telephone boxes and you won’t miss a beat.

Expect to be swallowed whole, though, by the frontal lobe of an entirely immersive moment in time, which challenges the norms of what we know to be time-travel and sends you hurtling through a vast maze of music, moods and ground-breaking creative moves.

I mean it….

…At times, everything engulfs you.

In one pace, you move through the avant-garde ambition of Pink Floyd, to the incredible physical objects of stage memorabilia. The next step, you round the corner and see pigs flying over Battersea Power Station! Mesmerising are the conceptual ideas behind the fine artwork and eclectic wardrobe and wondrous are the intimate band voiceovers, guiding you, like long-lost friends, through the stories behind such shifting sonic patterns and vivid chord progressions encountered in the vast ocean of soundscapes, known as their all-consuming albums!

What is remarkable is that you never, ever lose the feeling of being a child in the best room of toys…

…especially when up-close-and-personal with some of the most exceptional musical instruments, displayed at all eye-levels, adding an awe-inspiring reverence to guitars and drum-kits, which have vibrated some of the most directional hits in prog-rock history. However, before any childlike, look-but-don’t-touch disappointment tries to encroach upon the wow-factor, you spin on a dime and see the sweet-shop set-up of mixing desks, encouraging you to become über-producer and remix ‘Money’! Although already blessed with a biting, syncopated bass, my version became even more sizzling, when placing the line centre-stage, which is just where I love my bass to be! Then again, removing all else, save the pealing clarion of ‘Money’ and the subsequent vocal rendition was a sheer joy, particularly with a splash-and-dash more reverb…

I truly loved that particular, free-flowing quadrant of the collective Pink Floyd brain.

In fact, I wasn’t aware of trying to work anything out in a strictly linear fashion, but I am sure that there was a mass of rapid visual information processing going on, because I was still thinking about it all days later…

For me, that’s quite the point of the best memories.

No matter when or where you are, there’s no need to attempt to bring them to mind, because effortlessly, they revisit you.

In such a way will all of the treasured experiences in this extraordinary exhibition become and remain immortal.

 

©AFROW2017-2019. All Rights Reserved.

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‘Just Kids’ Ekows youth, with g-Ilori-ous designs on life!

‘EX.TRA.ORD.INARY!’

I said.

‘Here?!… Errr, are you sure?!’

He said.

’44 Great Russell Street! Yes! This. Is. It!’ I exclaimed, eyeing-up my destination with unadulterated glee, whilst my, ex-policeman, driver suspiciously cased the joint, with entirely less enthusiasm… Pupils darting from dash-to-doorway, he confirmed the number and wished me a, no less quizzical, ‘Have a nice day?!’, as I sent a sunshine smile his way… Nothing was going to rain on this parade… Neither an unconvinced driver, nor the inference of imminent precipitation from the indecisive clouds above!

One man’s doubt was my wonderment!

To me, this crumbling Georgian townhouse in the centre of London, was the architectural embodiment of a stroppy teen. Unkempt, undone…. As if it had just rolled out of bed, to be faced by early-visiting relatives… whilst utterly overshadowed by its beyond-presentable, elder sibling opposite, in the guise of The British Museum! In this case, considering myself the ‘cool Aunt’, who sees beyond the skin-deep, I sought to get to know the narrative behind the edgy, yet dishevelled styling of this work-in-progress…

No sooner thought, than materialised Maria, Gaby (and later, Emily), of Plinth UK, part of the four-strong collaboration (including ‘Photo London’, ‘Sedition’ and ‘Thames and Hudson’), presenting this on-edge edifice for its imminent launch, that evening, as ‘The Magnum Home’…. a boldly inventive, site-specific, multi-media presentation of ‘Magnum Photography’ and interior design installation, as curated by Cultural Polymath, Ekow Eshun and Artist extraordinaire, Yinka Ilori, respectively.

As I was to learn, there would be a lot to celebrate… What with Magnum celebrating its 70th anniversary, a range of complementary, unique merchandise and a Thames and Hudson publication to fête…there would, in addition, be the sheer triumph in overcoming the feat of transforming this shell and nurturing the angst-ridden, adolescent assembly into an absolute must-see, Magnum Home-of-a-house-party!

This was my idea of pre-private-view perfection!

My diehard loyalty to experiencing the behind-the-scenes process, in search of the sneak-peek pieces of the progress-report were, as ever, fuelling my creative engines… Such anecdotes as the microscopic attention-to-detail with which Ilori approached his responses to the photography, which co-curator, Eshun, had ‘trawled’* through, were captivating. From conceptualising the ‘Venice Beach Room’ in lengths of lofted, multi-coloured Dalston drapery and matching beach umbrellas, to upcycled deckchairs with bespoke Aburi fabric, designed by Eva Sonaike, the primary relationship between hues, not only juxtaposed the stark black-and-white series by David Hurn, but further, seemed to pull the emotional richness and spirit from each image, rendering the substance alive within the space. Having drawn the eye up through soft-furnishing treatments, the skylight reconnected me to the sun (not rain!), and as swathes of rays came flooding in, I was immersed further into the West-Coast world of ‘Perfect 10’, bikini-clad babes and bicep-curling bodies, some on-the-cusp of ‘Muscle Beach’ glory… others not! Yukka plants further guided my eyes down to a floor which had not been ignored….quite literally inscribed with a single series of lines, as to invoke the boardwalk and roads, which, to me, mirrored the plethora of teen human traffic, waiting to flirt their afternoons away, before finishing or, moreover, starting their homework! The youthful need to be centre-of-attention, was represented by a bold block of blue, upon the courtyard wall. Definitely flashy… almost gaudy, it is accompanied by a bench, in-turn, supported by sherbet-lemon yellow barrels, embellished in pen-and-ink, utilising Ilori’s idiosyncratic flourish….the prime position for a selfie-centred shot!

The Plinth ethos of integrating art and design in an authentic and multi-accessible way would spiral upwards through the house, which, with every step of my expertly-guided tour, was transforming into an ever-increasingly, thought-provoking, home. Eshun’s awareness of the ‘danger of romanticising youth culture’** was compressed into a finely-assorted array of photographs, acutely dissecting its rollercoaster-like dichotomies…. From the chilling portrayal of political ambition of the next-gen UKIP candidates, being displayed, disconcertingly prom-style, ascending the staircase… and the extreme anger captured through the monochromatic lens of Ian Berry, in the stiflingly small ‘Skinhead Room’, to the feisty ode to West Midlands glamour on a gregarious night out and the high-octane Harrow Boys, flanked by disapproving parental looks, which formed Martin Parr’s collection, the visceral intensity of the ‘pack tendency’ was, at once, hard-hitting and eye-opening.

Chris Steele-Perkins, meanwhile, packed a punch with a room that visually soliloquises the group aesthetic, through the viewfinder of the Black diaspora… Encapsulating the joy of the dancehall days, through ‘Disco’, the larger-than-life print, mirroring the flamboyant females who’ve taken-to-the-floor… holding court up-high, whilst mid-twist and bowing down-low, in almost reverential catharsis! Not to be outdone, a portrait sits above the mantelpiece… pride-of-place, as if to suggest the ‘number one son’… Staring, quietly confident, through a crown of cascading dreadlocks, the unframed persona showcases effortless style and profound substance. This palpable freedom threw me back to Parr’s Harrovians, whose hyperactivity, although captured in a full-bleed palette, is being contained by the use of solid frames…which, to me, spoke to the hovering constraint of tradition.

In the ‘East-Coast Room’, such tacit messages would continue to register via the compelling works of Ferdinando Scianna and Eve Arnold. Surrounded by images in New York subway trains, you are with the people…. watched over by ‘The Guardian Angels’ at one end and an extreme close-up of a fellow male passenger at the other… hanging off the ceiling handles and leaning into the lens, as if he were about to kiss you on the cheek! The sense of belonging, as witnessed in one group, is beautifully contrasted by the sensibility of developing flirtatious assertiveness…

By the time you reach ‘Cuba’ (a.k.a ‘The Isle of Youth’) on the top floor, creaking floorboards and dust-clouds give way to full-blown ‘amor’! Entering through a heavily-beaded, rust-hued curtain, an amalgamation of its dynamism and passion are symbolised texturally, through woven textiles, tonally, through clashing fabric patterns and sonically, (during the evening viewing), with booming Cuban-heel-tapping basslines! A visually vociferous canon of calorific attraction by Michael Christopher Brown, are pinned-up, like teen idol posters, devouring the den walls… The hours poured into Instagram research into the country, conducted by Ilori, have certainly paid off!

Absorbing the greatness on offer left me full-to-bursting… and returning to the start of my journey I was carried, three-sixty, from the hot Tropics, back to the ‘Club Tropicana’-vibe of Venice Beach… More enthused than ever, I was also left anticipating the night ahead… which promised much and, due to teamwork-making-the-dream-work, completely over-delivered, in every way imaginable!

‘The Magnum Home’ is a thunderous meteor amidst the ‘Photo London’ firmament… ‘Just Kids’, a free, all-encompassing, once-in-a-lifetime rendition of the thrills and spills of youth lifestyle… Its masterful curation distils the ‘white cube’ experience, by expanding it into an, unintimidating, tangible environment with which we can endlessly relate, namely, ‘home’. ‘Barbie Dream-Home’ it is not, but its raw and undercooked state segues seamlessly into the very nature of the young, rough-diamond within us all and with interactive events and tours set to run through Sunday, who knows what unearthed potential you might discover?!

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©A_F_R_O_W2017-2019. All Rights Reserved.

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Click-through for:-

Events at ‘The Magnum Home’

Limited Edition Merchandise for ‘The Magnum Home’

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Quotation Credits:-

*Ekow Eshun: @EkowEshun (Twitter: 16/05/2017) ~ **Ekow Eshun: P.V Q & A (‘The Magnum Home’ 16/05/2017)

Congratulations and warmest Afrow-appreciation to ‘Team Plinth’ for such an amazing time…with special mention to Maria, Gaby and Emily for being the most illuminating tour-guides…and Team VERNISSAGE__ for the Blogger recommendation!

***

2-4-1 Ticket Bonanza at BFI!

I think it’s time we talked ‘December’, friends!

No, not the fact that it’s the twelfth month of the year, but that it’s time to get your ‘Christmas’ on!!!

 So, heads-up, because December’s BFI schedule is bursting-at-the-seams, like a well-fed guest, post-Christmas lunch!

With personal appearances from Danny Glover, Sir Lenny Henry and Ashley Walters, to a Desmond’s cast reunion featuring Trix Worrell (Creator-Director), Carmen Munroe and Robbie Gee…From fantastic panel discussions on such topics as the concept of Black Beauty in cinema, to chances and challenges for BAME artists within the entertainment industry…PLUS screenings, screenings, screenings and MORE screenings spanning classic comedic turns from Eddie Murphy in ‘Beverly Hills Cop’ to the feelgood melodrama of ‘Waiting To Exhale’…bases are covered for film-buffs-to-fashionistas-to-first-timers!

Now here’s the cinematic-science bit!

 To redeem the 2-4-1 ticket offer, you must quote ‘STAR241’ when booking online, in person or by phone (020 7928 3232). The code CAN be used more than once but the offer ONLY applies to the purchase of two tickets for the SAME film. The offer EXCLUDES previews and special events.

For Under-25’s, it’s £3 on-the-door at BFI Southbank, for any film, at any time (including previews for new releases and big-screen classics)!

Just click-thru  below to add to the reason-for-the-season this ‘Giving Tuesday’ and get some early gifting sorted!

Enjoy!

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BFI BLACK STAR DECEMBER SCHEDULE

Under 25’s Tickets T’s and C’s

(Ticket Offer information and T’s and C’s correct at time of going to press). 

©AFROW2016-2019. All Rights Reserved.