afrow

Black Girl on the Front Row!

Category: LAUNCH

“TOMMY X LEWIS is a-GO, GO, GO!”

It’s the dawn of a brand new day.

Different type of race day.

Same type of build-up.

… As my computer monitor buffers, I’m already getting the idea that Lewis Hamilton has been, subliminally, winding his way around the circuit of his life, all of his life, to this major, visionary moment….

… the destination, of which, is already a prize, now becoming a victory lap, of vêtements, if you will…

… which is apt, since, it is beneath the banner of his exceptional, other-worldly willpower and drive, that the boy-turned-man racer, Hamilton, launches his first collection, in collaboration with zeitgeist style-powerhouse, Tommy Hilfiger.

Paying homage to their “Icons of Tomorrow”, the “Tommy x Lewis” fashion line comprises a co-ed capsule range, which is raising the chequered flag of sartorial success, in no uncertain terms!

Yes, we know him as the prodigious driving genius, who, from his karting days, was set apart by an uncommon work ethic, but today demonstrates a new discipline in Lewis’s creative kitbag, which complements his well-developed, but lesser-known gifts in music and his holistic appreciation of the artistic.

As I speed-type, with cartoon-smoke coming through my fingertips, “Everybody’s looking forward to what comes up next” is piping through my speakers.. and, if the superfast stream of reactions is an indication, millions are, like me, joining the throng, to preview exactly what “next” is going to “be“.

Who cares if the feed keeps dropping in and out, like a fan, fainting, from being overwhelmed at meeting their long-time idol?!!!

What does it matter if this begets the necessity to minimize the resolution?!!!

The track blaring out at me that “it’s time to start the show…” could not be more right…

LET’S. DO. THIS. LEWIS!!!!

A sliver of floating runway, is set in a Shanghai harbour, adjacent to a bright-lights-big-city backdrop and flanked by a deep river of stillness as guests, comparatively, on the edge of their seats, are being treated to fierce, high-octane sport-luxe, with codes of crisp, colour-blocking and crop-topping…  Non-stop Iconic, stomping, in block-heels and stepping, in worker-boots, khaki parkas, pewter puffas, go-faster, F1 stripes, chromatic geometrics are team-mates with over-grown plaids, on models with plaits… overlaid by a palette of clean-lined, lightning white through midnight black and texturised by sweatshirts and sweater-vests, drenched in shimmering sequins…

No time for pitstops though, as proportions collude, from full-length coats, that effortlessly cloak, to a cutting-edge tux that, seemingly, carves the silhouette out of living space. They scream and holler “New-York-minute” elegance, for the fashion-conscious connoisseur-cum-global traveller!!

It’s full-on, new-pep, Preppy-for-the-People… irresistibly-twisted, Ivy-League-on-overload and, branded with the insignia of “H”, brings to mind that, for such a time as this, were Hilfiger and Hamilton destined to be one.

The finale walk, was the perfect reminder that this was no empty, celebrity-endorsed exercise but a bonafide collaboration… the result, of which, delivered on desirability for the masses and then some. It is achievable, believable design, filled with on-trend enthusiasm, yet fuelled by an energy of endurance, and, in a sloganized, tie-dyed top of his own, the root-message from Hamilton’s heart is clear.. “UNITY” is the new dress-code of the day.

… A garment that I should be proud to sport, any and every day…

 

 

©A_F_R_O_W2018-2019. All Rights Reserved.

 

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Click-through below, to peruse and purchase from the “Tommy X Lewis” capsule collection Now!

TOMMY X LEWIS (Tommy Hilfiger UK)

Social Media Links:-

@TommyHilfiger @LewisHamilton

#TommyxLewis #TommyNow #IconsOfTomorrow

 

 

 

“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.

“BROS: After The Screaming Stops”

It is said that one never gets a second chance to make a first impression.

Of course, the original conjugation was in an offline sense. However, on Thursday 30th August, the prevalence of the spike of a certain set of digital impressions was impossible to ignore…

Permit me, friends, to extrapolate the lead-up because, as PR campaigns go, leave alone those of social media ilk, this was inherently stylish, oozing less-is-more class, with the consummate ease of an haute couturier, in preparation for Fashion Week.

All vision, no sound, rendered the volume icon redundant… a pleasant rejection from the “so yesterday“, consumptive trend, concurrent with today’s computer-crammed society. Now, do not get me wrong, friends, for communication, being my wheelhouse, the efficiency of modern modes of connectivity are a blessing… and yet, I appreciated the fact that there was no need for tech savvy… None of it. Instead, picture after picture of conjoined moving imagery was presented, over consecutive days, fuelling the driving momentum of an imminent announcement.

In a countdown where sneak peeks of practiced paradiddles, raw, frame-gripping grief and a, final, stance of brotherhood, from an onstage p.o.v, piqued increasing interest, each tantalising taste of things to come culminated in the revelation that the highly-anticipated documentary of “BROS: After The Screaming Stops” was, not only, available for pre-order, but had also gained BFI-accredited feature status, and was destined to be premiered at the upcoming, London Film Festival… arguably the most prestigious of its kind, upon the creative calendar.

Thus, the method of keeping the quiet out had been encouraging silent-movie engagement… creating the mental space for us to listen to our own internal reactions to the visuals, whilst also engendering empathy of the impact of the deafening nature that such silence brings, both, post-show and in everyday life.

You see, friends… I told you it was classy!

The Twitterverse was sent into a, veritable, hashtag-frenzy and I even think that I heard the echo of screaming, onset by the epic news… I, further, expect the flurry to continue, until ticket lines go live… partnered with the unadulterated glee at the successful purchases, thereof… although that might just be a self-fulfilling prophecy of she who is currently tapping away upon the keyboard, on the other side of your screen!!!

What I know, for sure, is that this meticulous exposition, directed by David Soutar and Joe Pearlman, will bear the grit behind the glamour, the art and the graft, will challenge and cheer, and signify the ultimate exploration of a bond of brothers, brought to the brink and back…

For no-one knows it, like these men in the arena, but after taking such an authentic tour with Matt and Luke Goss, after the screaming stops, I’m fully confident that a rapturous round of applause will start… the script of documentary-making will change and the incremental effect will continue to be felt, for some time to come.

 

©A_F_R_O_W2018-2019. All Rights Reserved

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Click-through to:-

Pre-order “BROS: After The Screaming Stops” before general digital release on November 12th 2018.

For further information about the film’s cinematic release on 9th November 2018 at www.brosthefilm.com .

For BFI ticket information and updates regarding the London Film Festival Premiere on 17th October 2018.

Further Social Media Links:-

@BrosTheFilm ~ @Fulwell73 ~ @mattgoss ~ @LukeGoss ~ @BFI

#AfterTheScreamingStops ~ #BrosTheFilm ~ #LFF ~ #LondonFilmFestival

 

“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.

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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.

 

 

‘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?!

~

©A_F_R_O_W2017-2019. All Rights Reserved.

~

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!

***

The TriForce is strong with this Creative Network!

T.C.N.

An acronym, small in letters, but big in ambition.

If I were to mention it, you might not know what it stood for, but the people behind it certainly do, for this triumvirate of capitals signifies the ‘TriForce Creative Network’, an absolute, organisational antetype, rather than a copy-and-paste prototype. Founded by Actors and best friends, Jimmy Akingbola and Fraser Ayres, to be an edifying agency of change within the Creative Arts arena, it has at its core, a strategy which promotes diversity, inclusivity and access, via multi-disciplinary collaboration, innovation and support of, both, emerging and developing artistic talent.

Achieving such altruistic objectives demands optimism, idealism and pragmatism and the use of compound creative outlets, allows the Network to manifest its goals. For example, beneath the umbrella of T.C.N, reside the ‘Monologue Slam U.K.’, ‘Writer Slam’, ‘TriForce Productions’ and ‘TriForce Short Film Festival’, each serving to concretise an infrastructure, generating definitive opportunities for independent talent to shine (whether performance or production), in addition to encouraging increased audience engagement.

With such an ambitious ethos, it was the best of times, then, to attend the press launch of this year’s ‘TriForce Short Film Festival’, not only to learn more about the imminent December 3rd event (to be held at BAFTA H.Q), but also to view the UK premiere of Jessica Oyelowo’s stunning directorial debut, ‘After The Storm’.

From the lively Q and A session, it was an sheer joy to uncover how the fruit of the seed sown in Edinburgh 2004, by “creatives who wanted to open up Arts”*, was going “beyond labels…beyond the term ‘BAME'”*…an utter delight to ascertain that, a wide variety of categories, such as; ‘Family Values’, ‘A Question of Identity’, ‘Non-Scripted’ and ‘Microshorts’, within the competitive film-making element represented this by, yet again, producing a truly exceptional shortlist (expositions, of which, will be seen on the day and at the evening Gala).

Being able to dream dreams and pursue them as a bonafide profession will also be explored, via an ‘Industry Expo’, with a unique selection of seminars, to be hosted by the multi-talents of Reggie Yates and Charlene White, and keynote speeches from the likes of industry-leaders, ‘Shine Media’, ‘4Talent’ and ‘Creative Skillset’. Further endorsing the effectiveness of the sessions was last year’s ‘Best-In-Fest’ winner, David Kitchen. Enthusiastically attesting to their importance, he highlighted them as “so informative…[because] you get to speak to people…, [so] even if you don’t win, you still feel a part of a network.” In fact, making connections and forging friendships, led to the Director being able to call upon those very contacts, within the year (2015-16), resultant in his film now being developed into a three-part television series and a feature! (Cue audible gasps of excitement from the screening-room audience!).

My mind began racing…

…If concentrating on career development could work for adults, I had to inquire as to whether there might be the opportunity for an educational roll-out of such a bold initiative. Minnie Ayres (Actress and T.C.N Company Director), ebulliently explained that, being free to submit entries, the ‘MicroShort’ section was particularly popular with under-18’s. She also revealed the idea of expanding the entry-age of the ‘Monologue Slam’ competition, extending the reach of showcasing untapped acting excellence.

My heart leapt!

A mere 24-hours after an election, which seemed to have contracted global hope, here was TriForce, an outstanding network of understanding that navigating myriad creative pathways with ongoing support has never been more crucial… a shining beacon of an organisation, nay, a Family, which is not only proving itself to be game-changing within the Arts Industry but, undoubtedly, life-changing!

©A_F_R_O_W2016-2019. All Rights Reserved.

~

TRIFORCE SHORT FILM FESTIVAL 2016

DATE: DECEMBER 3RD ~ LOCATION: BAFTA, 195 PICADILLY

SCHEDULE & TICKETS

TFSFF 2016 SHORT LIST

@TriForceFest    ~ @TriForceEvents

TriForce Creative Network

TRIFORCE MONOLOGUE SLAM

@MonologueSlamUK   

*Quote: Fraser Ayres (Post-Screening Q and A)

~

Sincere Afrow-Appreciation to Minnie Ayres and Sophie Spirit for organising the invite! Super-congrats on a fantastic launch!

How do you solve a problem like ‘Utopia’? Follow the Arts Trail!

September was a SCORCHER of a creative month!

First up, was London’s inaugural Design Biennale, held in a Somerset House, replete with a host of 37 global delegations, problem-solving the notion of ‘Utopia’, through pure, clear Creativity… Yes, friends, I repeat, Creativity, with a definitive, capitalC‘!

Something about the socio-political mood revealed the V and A weathervane, in the courtyard, with new eyes. Surrounded by a singular weather-system, within the cobbled square… the perfect, windswept movement of a majestic installation called to mind the damage that the ever-developing power of such wind would and could do, in parts of the world which I could not see.

Ensconced within the wings, both East and West, resided ingenuity and innovation borne beyond blue-sky thinking… such as Sweden’s curated ‘We-topia’, which encapsulated the impact of serendipitous community collaboration, to form a collective of artisans, articulating the diversity of devastatingly desirable, stylish and, moreover, sustainable, homeware… via ‘Level’, Austria’s paean to light and balance, reflecting the pointed delicacy of the global butterfly effect… to Spain’s neon-laced, VR Reality vision of the future, accessed through a mirrored time-tunnel, reminiscent of the final, technicoloured vortex to the full-circle life-span, in ‘2001: A Space Odyssey’… From navigating the modernisation of irrigation systems, in order to enhance the growth and yield of vegetation, in addition to stimulating ecosystems, proposed by the U.A.E, to Greece’s audio-visual honouring of the migratory patterns of peoples and their bespoke utilisations of a unique composition of marble…the entire London Design Biennale experience did more than represent the United Nations of Innovation… Underneath, and often, starkly, beautifully evident, was the best of expertise in fabrication, function and flair, infused with joyous wit and extensive wisdom. It has been, and will remain, one of the most engaging, thought-provoking private viewings which I have ever attended… where offerings (some of which were tantalisingly unfinished the day before the launch) of the power of dreams, were made pragmatically, believably real… It was a undeniable triumph and I am already declaring, alto voce, ‘Roll on 2018’!

If that were not enough, up popped the first, ever, Catford Arts Trail! This free, open-house event (including workshops and activities), spread over two consecutive weekends, was based in-and-around 31 venues, enthusiastically celebrating the creative energy and spirit of entrepreneurialism flowing throughout the area (much like the River Ford used to do!).

Event experience corroborated that I was up at the crack of dawn, set up with a super-hearty breakfast, my trusty map and an empty bag… ready to be filled upon my Arts Trail adventure… and what a brisk few hours of flying-visits it was! In fact, I’m sure that my, somewhat, ‘Phileas Fogg excursion’ at the London Biennale, had prepared me for my artistic treasure hunt…

Every house was handsomely bedecked in a clutch of brightly-hued balloons, a signpost, standing proud and true, emblazoned with the ‘Catford Arts Trail’ logo and quite often, the added bonus of a handwritten welcome, second only to the glorious souls inviting us in!

I first paid a visit to see the wondrous world of intricately-woven 3D structures created by Stella Harding… some which resembled robust, warrior masks, others, no less impressive,  fashioned with measuring tape! I was delighted to ascertain that there were two places remaining upon her contemporary basketry course, at Morley College (although I somehow doubted that would be the case by the day’s end, so great were the pieces). Work by accomplished ceramicist, Robert Cooper, was also on show… this time, woven around narratives linked to the Japanese tea rituals and foraging at the River Thames for broken fragments of old crockery, from which to devise new stories, through re-purposed pieces. I believe I overheard him regaling a tale of his Aunty, to a fellow visitor as I left!

With a cool breeze for company,  directing me onward, I wound around the corner, to take in the home textiles of ‘Sophie Home’ and locally-themed prints of ‘Place In Print’. Once again, the array of wares was first-rate! Although demonstrating differing elements of the design spectrum, both sets of products screamed ‘modern classics’. From tea towels to cushions, I was particularly taken by the bold use of minimal, neutral colourways, spiced up with slices of citric tones, in the soft furnishings, as well as the quirky and most charming individuality to the playful prints.

Now, you won’t believe this…but, what with all of the fun and creative fact-finding, time veritably flew by…but I had one last stop to make before winging my way back to the homestead… Quite frankly, amidst all of this awesomeness, I needed my fill of fantastic fashion… I found it, and then some, at House 24, upon the trail… which is where I also remembered to pick up my ‘Catford Arts Trail Card’, which, when stamped 9 times, at 9 different venues, would automatically enter me into the draw to win £100 worth of goodies from my chosen Catford Artist!

Once I got my stamp, I got to know the uber-cool sculptural jewellery of Katie New. Colourbursts, like the richest of cabochons, radiated through her collection of handmade articles. Standouts combined the strength of precious metals with the embossed textures of fragile leaves and were a perfect foil to the stunning designs of Jasmine Carey a.k.a ‘Deco 22’. Having followed Jasmine’s continual rise as an exceptional style artisan, I am an absolute aficionado of the clean-lined aesthetic of apparel that she produces, with the quality of her precision-cutting and the overall outstanding execution of assembly, giving masterly substance to highly-covetable and wearable works of art. Highlights? The entire collection!…If pressed, then, my star-buy would have to be the nod-to-40’s-glamour, expressed as a belted black-and-white overcoat, with a fit-and-flare silhouette to live for, invisible pockets that are so invisible, you’d think they were trompe l’oeil, and a steal at £65, (due to it being a sample)! As for accessories (yes, she designs and makes those too!), I adored all of the leather goods.. from wallets/ card-holders, to folios… and the cutest gift bags, containing a pin cushion and pins, perfect for new and experienced crafting types, which were simply darling!

With that… I was creatively spent!

… I returned to Afrow-H.Q, a fully-fledged member of the Catford Arts Trailblazers (as I like to call us!)… with the enduring memory of, not only the warmth of welcome at each and every home, the willingness of each designer-maker to share their inspiring stories, but most of all, the camaraderie of fellow Arts Followers, cheerily directing one another along the way…

The sincerest of congratulations to all involved in continuing to spread the word about the strength-in-depth of creative endeavour, both borough-wide and globally….

In an ever-changing world, moving from relative strangers to creative neighbours is, surely, the greatest treasure of all!

©A_F_R_O_W2016-2019 ALL RIGHTS RESERVED

~

London Design Biennale 2016 ~ Somerset House

Catford Arts ~ Stella Harding ~ Robert Cooper ~ Sophie Home ~ Katie New ~ Deco22

 ~

Twitter Testimonial from London Design Biennale!

“LDN Design Biennale Retweeted Afrow:

“Problem-solving the notion of ‘Utopia’, through pure, clear Creativity” – thanks to @A_F_R_O_W for a great review of @londonbiennale 2016”

~

Twitter Testimonial from Sophie McNiven, Catford Arts Trail Organiser and Founder/Designer of ‘Sophie Home’

“Sophie Home@shopsophiehome Oct 30

thanks so much for this write up! As one of the organisers of too, I’m particularly delighted to read of your joy!”

‘BLACK STAR’ will shine at the BFI!

When the BFI celebrates achievement in film and television, it celebrates!

Case-in-point, the glitz and glamour of the 60th London Film Festival, which wrapped with a glorious nod to director-extraordinaire, Steve McQueen, who was awarded with the BFI Fellowship.

Hot-on-the-heels of the highly-successful event, the baton of style and substance has been passed on to the ‘Black Star’ season, commencing today and billed by its programmer, Ashley Clark, as ‘the biggest ever celebration of black screen talent.’* Having seen the line-up, not only would I second that statement, but boldly add to it as, quite possibly, the most comprehensive collection, yet, of across-the-board artistry within the genre.

A constant in facilitating the continuance of creative excellence, irrespective of creed, colour or gender, the BFI announced the upcoming season to great fanfare at the eponymous ‘Black Star Symposium’, during the London Film Festival. Headlined by in-demand Actor, David Oyelowo, and attended by other such esteemed panellists as Amma Asante (multi-award winning Writer/Director) and Noel Clark (groundbreaking Actor/Writer/Producer), to name but a few, the conference also marked the first stage of research into the compilation of material, revealing the changing landscape of British cinema, both on and off-screen, purposed with being a game-changing benchmark regarding inclusivity and diversity, for decision-makers within in the industry. Asante being the first Black British Director to open the London Film Festival with ‘A United Kingdom’, starring aforementioned David Oyelowo and Rosamund Pike, marks an indelible tribute into such an inspirational endeavour.

With a schedule showcasing contributions from recent and distant past, ‘Black Star’ boldly goes where no season has gone before! Heroes and heroines from, both, small and big-screen, display the many narratives of the Black Diaspora, which are seamlessly woven into a tapestry, resplendent with grit, grace, class, cool and undeniable, landmark artistic virtuosity.

Landmark performances from Poitier to Prince, Baker to Bassett, Ejogo to Ejiofor, Kitt to Kid ‘n’ Play, Nicholas Brothers to New Jack City… Hollywood, Nollywood…culminate in a meticulously-planned, nigh on, inexhaustible selection! Add to that, a generous helping of Q-and-A’s, enough to quell the appetite of even the most inquisitive of movie-goers and a mid-season exhibition dedicated to the genius of Paul Robeson plus a 2-4-1 offer on tickets (see T’s and C’s below)** and you’re ready to plot your own cinematic odyssey!

Enjoy!

~

Click below for more information about the ‘Black Star ‘ Season at BFI Southbank and Nationwide!

http://www.bfi.org.uk/blackstar

@BFI (#BFIBlackStar)

~

Credits

*Source (Ashley Clark quote):BFI Southbank ‘Black Star’ Season Programme, p.18.

Ticket Offer Terms and Conditions

** To redeem the 2-4-1 ticket offer, you must quote ‘STAR241’ when booking online, in person or by phone. 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.

(Offer information correct at time of going to press).

©A_F_R_O_W2016-2019 ALL RIGHTS RESERVED

REVIEW: “2001: A SPACE ODYSSEY”

If ever a creation of cinematic endeavour were made for HD technology, then ‘2001: A Space Odyssey’ is it!

Currently showing as part of the BFI’s gargantuan ‘Sci-Fi: Days of Fear and Wonder’ Season, it is arguably the knockout centrepiece, within a roomful of genre heavyweights!

Whilst I had heard much of the Stanley Kubrick/ Arthur C. Clarke classic, I only became acquainted with the sci-fi archetype, in all of its visual re-mastered splendour, in November, at a BFI preview screening. You may, indeed, gasp… but I rather saved mine for the believable surreality, expressed by lavish scenes of space and a glorious classical score! In fact, sat in a pod-like room (in shape, rather proportions!), with a screen, which became my ‘visor’ into every impeccable image, for me, neither the timing, nor the location could have been more perfect…

I read, well, excitedly surfed, the synopsis…Words levitated at me… I summised that a monolith visits Earth, mystifies apes, re-appears in 2001, signals Jupiter and astronauts David Bowman (Keir Dullea) and Frank Poole (Gary Lockwood) are sent on a mission to investigate…under the watchful gaze of on-ship computer, HAL!

…And so it began…

From the crescendo of discordant sound against nothingness and visceral vividness of ‘The Dawn of Man’, to the comparative implication of sophistication and elegance of modern man and machine, borne out of the divine works of Strauss, I was hooked!

An overture of sheer fine art was sustained through an uncompromisingly focused vision.

Each frame a multi-platform symmetry of the highest quality and incredible detail…with the genius woven through the process of creatively honouring them.

For example, some of the most impeccable avant-garde apparel, by Sir Hardy Amies, graced the eye, with an aesthetic of lines so clean and sharp, cut so, entirely, be-yond minimal, that I could barely breathe! Out-of-this-world ovoid millinery and super-inventive, zero-gravity gripper shoes only underlined selecting the haute-couture designer! Furthermore, the use of such household names as ‘Pan Am’, as the method to reach the Space Station and staying at the ‘Hilton Hotel’, once there, in addition to such highly innovative technology, as video immigration and phonecard screencalls, were smart , yet utterly convincing.

There really is nothing new under the sun, as over 40 years later, we’re calling them ‘fashion-forward’, ‘product placement’, ‘check-in’ and ‘Skype’!  That said, I have yet to see a 360-degree, rotating elevator, but boy, am I glad that Kubrick not only had it in mind, but beautifully played it out, on-screen… There simply is nothing quite like the lasting image of an intergalactic air-stewardess, completely upside-down, en route to serving technicolour food, to passengers, whose falling arms (when dozing), weightlessly float with balletic grace!

Very much like a dancer extending a fingertip, to interpret a sonic phrase, so the musical movements supported and completed the visual motion. Sometimes dense, with legato strings and minor chord progressions, sometimes tense, with only breathing patterns, like vocal heartbeats, being heard, Kubrick was unafraid to strip back aural interplay, in order to facilitate mood. Of particular note, with the introduction of the monolith, was the motif of acapella chorale, suggesting reverence, yet increasing mystery, as to its significance. However, it is in the extended silences, that Kubrick played his most powerful hand. The everness of Eternity is succinctly captured, by allowing the vastness of Space to be embraced by the literal sound of silence. We see action. We hear no correlation to it. The quietude is deafening. The effect? Incremental hypersensitivity. Emotions are, thus, heightened. A directorial masterstroke…

…As is Kubrick’s casting!

In Keir Dullea (David Bowman), we are arrested by the palest of eyes…nigh-on transparent, save for the most delicate inflection of ice-blue. His voice sparse in modulation..His demeanour still, considered, controlled, to the point of highly-strung. Gary Lockwood (Frank Poole), is the ultimate foil to Dullea, portraying a chilled-out, space-traveller, with an air of the boy-next-door, who ‘lucked-out on landing a pretty cool gig’! Both at complementary ends of shared intensity…Both absolute, in their supreme acting ability to manifest the dynamics of emotion in between.

Then there’s ‘HAL’. ‘HAL 9000‘, to be exact! The conscious entity, which, due to its stratospherically high level of A.I, causes the indefinite, to become definite. Pre-mission interviews in which HAL expresses ‘worry’, only served to elevate ‘relatability’ and exacerbate the fine line between human and high science. Once again, the film deftly explores the narrative, with edge-of-the-seat suspense, which brings us to a most stunning dramatic climax, the like of which only first-person, big-screen viewing can do justice!

Thanks to this jaw-droppingly epic film, made in the 60’s, posing questions as to the life-cycle of Man, proposing fully-developed, intergalactic living and investigative missions to Jupiter, in a time when research is well underway for ‘treks’ to Mars in the very near future, the way in which I look at sci-fi will never be the same…no matter what the world of cinema produces!

To quote Keir Dullea, from a recent group interview at which I was priveleged to be present… ‘It blew me away… Nothing quite readies you..’

..My sci-fi sentiments, exactly!

©AFROW2014-2019. ALL RIGHTS RESERVED.

Heartfelt Afrow-thanks to…

The entire Creative Force behind ‘2001: A Space Odyssey’.

Rhidian Davis

Sarah Harvey Publicity

‘2001: A SPACE ODYSSEY’ IS OUT NOW, AS PART OF THE BFI’S ‘SCI-FI: DAYS OF FEAR AND WONDER’ SEASON!

‘DOTTY FOR MATT FORSTER’S UBERART!’

So here’s what you’ll do…

When your soul cries out for sustenance of the extrasensory kind, follow my lead, to the ‘Royal Opera Arcade Gallery’, London, and begin a most fulfilling journey of delicious ‘Über Art’! Created and developed with relentless fervour by the man, whom I like to call ‘Watercolour Wizard’, but whom is better known by the moniker of Matt Forster, this latest exposition is a vibrant testament to all of his dedicated efforts…and being of the ‘über’ variety, there’s more than enough to go around!

Noticeable is the space which houses the majestic collection…

A split-level gallery, flooded by luminescent white-light, akin to that of Skywalker’s sabre…Poised, yet utterly yielding to the array of immersive, wrap-around watercolour works!

Flowing from figurative to abstract, landscape to dreamscape, multicolour to monochromatic, über to klein, each piece immediately resonates with a clarity of purpose and distinctive technical execution, which speaks volumes to the subconscious. Forster is fearless in experimentation… collaging, cutting-out, scraping-back, slicing angles… Each, a willing foil for expressing his vision. In one mesmerising series, he seems to ‘liberate’ paint-spots and yet, contain the liquid movement, so as to become controlled ‘dot-formations’, of ever-increasing tonal and visual depth. In fact, with such gusto for graphics and colour collaborations, you would be forgiven for thinking him a designer of a couture collection for Spring-Summer 2015!

The opportunity to sojourn in the selection of global destinations is wonderful… In a hushed millisecond, collective languages can almost be deciphered exchanging tales of their pictorial formation! ‘Dos Pinturas’, ‘High Noon’ and ‘The Band San Cristobal de las Cases’, masterfully regale of reflective days in sunsoaked climes, whereas ‘Über Autumn’ and ‘Über Pennines’ celebrate the richness to be found amidst the more muted hues of our glorious British Isles. The latter, particularly capturing the masculinity of terrain, with the femininity of undulating hills or rippling waves… Pure, authentic, beautiful and boldly interpreted.

However, I would entreat you not to overeat the enticing wall-mounted fayre, for this is a week of artistic delights which offers even more! Indeed, this selection coincides with the launch of ‘The Art of MJ Forster’, his first, limited edition, retrospective book, the production of which, was made possible by a hugely successful crowd-funding campaign. What you will see displayed is accompanied by what you will get in the stunning publication, produced by ‘The Town and Country Gallery’…so you can snack on further morsels, at leisure!

What I would encourage you most definitely do, is partake of the ‘Über Art’ experience, firsthand… Meet Matt himself. He’s a highly personable and witty character, with an underlying intensity and creative sensibility, in perfect complement to the idiosyncratic medium of watercolour. Assuage that artistic appetite…go on….but be prepared to want, at least, a second helping from such a prolific menu!

***

‘The Art of MJ Forster’: A Retrospective Exhibition (and Book Launch) is on now until Saturday 11th October at The Royal Opera Arcade Gallery, 5B Pall Mall, London, SW1Y 4UY.

Books are available for purchase during the exhibition, from ‘The Town and Country Gallery’ and via Matt’s newly revamped website!

***

Afrow-Appreciation to:-

Simon de Pinna and the ROA GAllery for hosting a fabulous P.V and…

… HUGE CONGRATULATIONS to Matt Forster….

…‘Über Artist’ extraordinaire and, hopefully, future fashion/fabric designer!

©AFROW2014-2019 ALL RIGHTS RESERVED