Today we hand over the blog to the curator of the Short Course Exhibition, Hugo Lucien Bou-Assaf, for him to write about the experience of curating the short course exhibition, and the ideas and themes behind his choice of display.

Hugo Lucien Bou-Assaf

Short Course Exhibition Display

My brief when curating the short course showcase was to create a composition of 7 displays in the Lethaby gallery windows.

My initial process involved analysing the process of each tutor and monitoring how their craft influenced the perception of a final object. Over a series of meetings in which tutors would create work for the project, I noticed several techniques and processes that disclose a more nuanced view of the produced material.

The relationship between process and production arose early on. Manifesting this visually however was more of a challenge. Whilst footage could potentially be displayed on monitors I wanted to reinforce the gestural, hands on nature of craft. My solution was to extrapolate stills from a series of videos filmed of the tutors at work that best exemplified certain themes, such as the changing state of materials and technical flourishes. These stills would be placed sequentially, in chronological grid formations and printed on soft banner material. This texture allowed me to remove micro nuances of certain crafts and place them statically, separate from the flow of time, so that they themselves can be observed in the manner of typical 2D display, whilst retaining a degree of tactility.

Tactility was one of the main considerations in my curatorial thinking, as many of the objects presented a function in relation to the human body, or are designed to be used, touched or worn. The display’s glass panelling meant that a physical barrier would separate the viewer from the art work. Much of my thinking centred around closing this distance by using reference points, signalling the most textural components of each work. In Jill Entwistle and Judy Bentinck’s display, for example, objects are placed in a way that best reflects the contrast between surfaces. This concept is extended into the displays of the rest of the artists.

When installing the show, I found myself gravitating towards the concept of elevation, the idea of eyelines and guided vision emerged as another seminal cornerstone of the exhibition. Looking at the accumulated visions of contemporary artists such as Barry Le Va, I recognised the importance of a cohesive visual consistency. The flow of sight is guided by dimensions of height and depth. Objects such as banners hang to create a canvas or space and the works fill this space with constellations that follow a narrative. In Kangan Arora’s work, for example, the objects begin as tools and culminate in product, or, to give another example, in Sean Myers’ pieces the works visualise the theory of quantum physics at successively different scales, beginning from the largest cosmological events on a universal scale and ending at the atomic makeup of our bodies.

As a whole the project investigates the talent and craft that make short courses so appealing. They enable students to not only learn skills but interpret and apply them in ways, just like the display, that tell functional stories. The wide range of mediums and professions gives the unique opportunity to see dialogue and semblance in objects and art works typically demarcated from one another.

The installation begins with four mounted print works from printmaking short course tutor Sean Myers. The works are visualisations of quantum theory pioneered by the late Stephen Hawking. Starting with representations of the big bang and astrophysical representations of multiverse theory, to the vastly reduced subject of our own planet within the solar system, all the way to the atomic biological compositions of the human body, Myers’ work excels in this narrative approach to science but also in its accessible nature.

© Sean Myers

Kangan Arora teaches a short course in textiles and her work explores colour theory and a product based approach to design that sees her patterns proliferate in lived environments. The display of her works presents the tools of her process in conjunction with the finality of a product, the two interplay and mediate the idea of craft as not only object but construction.

© Kangan Arora

Anastasia Young’s jewellery work has a sculptural sensibility. Inspired by Christianity’s medieval iconography, her piece retains the fine craft of traditional jewellery technique but applies the sensibilities of modern re-interpretation and pastiche. It is distinctly and simultaneously faithful and rebellious. Presented alongside this is a banner detailing process from a live filming of her working on a re construction of the piece.

© Anastasia Young

Anastasia’s jewellery work sits adjacent to the metal shelving unit of curiosities put together by Alexander Hinnerskov, who teaches the product design short course. Behind the shelving unit is a banner taken from a live demonstration of Hinnerskov’s concept development and applied thinking relative to how we interact with everyday objects. His work has a remarkably contoured functionality that integrates into a wider philosophical supposition on how design can reimagine processes in our own lives. His work is intuitive and as such, lends itself to multiple tests and reworking, which are all evidenced and displayed within the industrial shelving unit.

© Alexander Hinnerskov

Next to this is a group of detailed life drawing works done at a live session in the CSM Archway studios by David Price, teacher of the life drawing short course. In front of Price’s banner, which details him drawing from a life model who sits out of frame, are visceral isolations of the human form. Stylistically the drawings resemble the works of Freud, Auerbach and the London Schools of draughtsman. These objects hang like curtains at separate elevations to disclose imagery in the banner, reinstating to the viewer the importance of process. In this instance drawing is perhaps defined by its processes, which consist of the collaboration between the sitter and the artist.

© David Price

Judy Bentinck and Jane Fryers are both tutors on the millinery course, as well as professional milliners, and have 3 hats included in their displays. The works are tactile and convey texture with vivid clarity. Whilst the hats in the display function as art objects they also interplay with other works intended for the body, challenging our perception of how the field of fashion can have sociological, geographical and historical pertinence as artefacts of design.

Kristine Kilty, fashion styling short course teacher, works and interprets fashion to transform looks into fictions for brands and designers. The banner presenting her works are isolated processes of a time lapse video in which Kilty and her team are styling models for a photoshoot. Several looks are pronounced references to classic ski wear whilst others see bellowing jackets synched, tied and draped to create an interplay between the body and the garment.

© Kristine Kilty, Jane Fryers & Judy Bentinck

Jill Entwistle, tutor on the pattern making short course, is an expert pattern cutter whose renditions of fashion silhouettes have a calculated intricacy. Her work acts as a sculptural disturbance of the accepted geometry in garment design. Her display focuses primarily on her process and how in her work this process has visible traces. The foreground sees a mannequin baring the assemblages of construction, calico meets pattern paper, raw seams and interfacing disclose the geography of an uninhabited body. This is offset by a banner showing a 360° view of Entwistle’s work, encouraging the viewer to observe the garment as an object native to motion, further punctuating the vitality of her work in connection to the human form.

© Jill Entwistle

Ultimately the exhibition aims to provide the visualisation for the process and outcome of a short course. Whilst each tutor and artist work in the coalesced sphere or art practice their technical sensibilities and craft based perspective allow them to present not only unique craft but unique opportunities and experiences to teach.

Like Hugo’s work? give him a follow on Instagram. We were very pleased to work with Hugo, as he is a graduate from the BA (Hons) Culture, Criticism and Curation course. If you are feeling inspired to get back into the classroom, you are in luck! CSM Short Courses run throughout the year during daytimes, evenings, weekends, Saturdays and online – Autumn Term starts 1 October. View all upcoming courses now.

Today we share the wonderful work of pattern cutter and Central Saint Martins BA Fashion and short course tutor, Jill Entwistle. Jill has 20 years of experience in the fashion industry and began teaching at CSM eight years ago. She also freelance pattern cuts on a part-time or project by project basis. For the exhibition Jill is showing a custom made work in progress garment on a pattern cutting mannequin, emphasising the exhibition’s theme of process and form. Behind the mannequin sits a banner showing 360° views of the mannequin displayed in the show as well as one other. In the words of the show’s curator, Hugo Bou-Assaf, her atypical and experimental work “acts as a sculptural disturbance of the accepted geometry in garment design.”

Jill Entwistle’s Central Saint Martins Short Courses exhibition display

How did you come to work in your field/discipline?

I began by making clothes on my bedroom floor as a teen, my interests were fashion, art and music, growing up in Manchester at a time when music was so important to youth culture. I completed an Arts Foundation at Manchester Poly, then went on to take a degree in Fashion and Textiles at Birmingham Polytechnic. I then moved to London, where began my career working in the fashion industry assisting, and eventually designing and pattern making.

In that time I worked for various designers, Joe Casey-Hayford taught me about contemporary tailoring techniques and design for men and women, and construction, showing at London fashion week, and in Paris. I then worked for Ici La Fille, selling to Joseph, and again exhibiting in a Paris. I took on freelance pattern making and illustration, and then began working for Name designing their in store collections for wholesale and retail. After a few years of freelancing, I went full-time to work for Ghost where I learnt about their very unique process of cutting and making Ghost garments. They had catwalk shows in New York and London, and four collections a year, I became the Design Coordinator.

I went freelance again in 2007, and began teaching Pattern making at CSM in 2009 on the BA Fashion course. I’ve been teaching on short courses in pattern making also for the past seven years, whilst also freelance pattern making.

Detail. Photo © Sid Black

Where do you get your inspiration from and how do you stay inspired?

Working with students is a huge inspiration, as is helping them to realise their ideas in 3D. As a tutor it is the problem solving nature of pattern making which inspires me.

Detail. Photo © Sid Black

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

The works I submitted to the exhibition are toiles for two of the exercises on the Patternmaking – Experimental And Explorative Approaches Part 1 course. The calico bodice (displayed on the pattern cutting mannequin in the window) is based on an early 1950’s Dior illustration for a resort piece – made using a moulding technique. The second piece is taken from a Halston evening jacket using a draping and deconstructing technique.

Detail. Photo © Sid Black

What is the best bit of advice you have ever received?

As a student I was told “In fashion you are always learning. There are always new fabrics, ideas, techniques…”, even more so today, I learn all the time by helping my students.

Detail. Photo © Sid Black

What advice would you give to aspiring creatives?

To my students, be bold, listen to advice, but follow your instincts. Don’t be frightened to create your own process.

Detail. Photo © Sid Black

If you like what you see and are feeling inspired, there are places available to book now on Jill’s upcoming courses, Patternmaking – Experimental And Explorative Approaches Part 1 and Patternmaking – Experimental And Explorative Approaches Part 2. CSM’s Short Courses Autumn Term starts on 1 October 2018; view all upcoming Autumn Term courses now, don’t have time during the week? Try a single weekend course 🙂 see you soon!

Today we are talking with Central Saint Martin’s printmaking tutor, Sean Myers, to learn more about his work featured in the CSM Short Courses exhibition and to get a more in-depth look at his own artistic practice.

Sean Myers

What is your full name and what short courses do you teach?

My name is Sean Myers and I teach Experimental Printmaking, Experimental Printmaking for 16 to 18 year olds and Mixed Media Printmaking at Central Saint Martins. I am also a former student at CSM (1990-97) and have been teaching at CSM since 1997.

Exhibition Display © Sean Myers

How did you come to work in your field/discipline?

I studied for my B/TEC in Art and Design at Chelsea College of Art and Design between 1988-90, it was whilst on the painting pathway I discovered Chelsea having a small print room, behind the painting studios, and I immediately became fascinated by the indirect and sometime accidental mark-making possibilities in printmaking. This ‘back to front’ or reflective way of working is still a source of great excitement for me which I then pass on to students taking my courses at Central Saint Martins, and more recently Chelsea College of Arts.

“Birth Bubble” © Sean Myers

Tell us about your work.

I have always been interested in portraying depth and movement when I make my work, as I like to challenge the notion that printmaking, and in particular screen-printing, can sometimes look quite flat and two dimensional. Looking for inspiration for this depth and movement whilst researching my thesis during the printmaking degree at CSM, I became hugely interested in science and nature, and the theories of the late, great theoretical physicist Stephen Hawking in his celebrated book ‘A Brief History of Time’ which he wrote to communicate his ideas to the science community but also in layman terms to the general public.

Without question he wrote about an incredibly ‘difficult to understand’ subject matter which challenges most peoples’ understanding of how humans, our world environment, galaxies and the universe works.

I thought he wrote beautifully in a very descriptive way, which helped me to visualise some of his theories such as; bubble and parallel universe(s) and the idea that tiny sub-atomic particles (found in everything we see) can occupy a multi-layered position in space/time.

Phew!

The type of language he uses is very descriptive and really is still a starting point and continued source of inspiration for me and how I see my art progressing.

Where do you get your inspiration from and how do you stay inspired?

It comes from reading about contemporary scientific ideas, particularly ‘particle physics’. I also use my digital camera a lot, as I always carry it on me, looking for temporary moments in nature which depict interesting compositions, colour, tone, texture, light, movement and energy.

“Skin” © Sean Myers

What are you working on at the moment?

My imagination pays homage to Hawking’s theories of multi-dimensional space/time and I next really want to explore this in much greater depth and how his way of thinking is also linked to nature and the human body through my work on skin, cellular structure and also the natural energies found in plants and how it all relates to a broader scientific and artistic understanding of the subject. I am also working on how to combine art and scientific understanding into a curriculum so science is more attractive to young people in schools as well as artists and academics in higher education.

“Equals” © Sean Myers

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

The unique prints in the CSM window gallery are mainly multi-layered screen-prints and mono-prints reflecting my idea of being visually influenced only by Stephen Hawking’s text without any artist or secondary visual reference.

In these works’ I created my own ‘primordial’ experiments in petri dishes to depict energy, depth and movement using various inks, pigments and water. I then photographed the results with the intention of making photographic stencils for my multi-layered way of working in the screen-printing process.

I like to use printmaking as my medium of choice for the art I make, as it has this similarity of process (layering and intuitive thought) with Hawking’s view of our ‘quantum’ world which also seems very layered, random and abstract to our understanding right now. My imagination pays homage to his theories of multi-dimensional space/time and I next really want to explore in much greater depth, on how his way of thinking is also linked to nature and the human body through my work on skin, cellular structure and natural energies.

“Strata” © Sean Myers

Which piece of creative work, in any discipline, do you think everyone should see and why?

Any work by artists Gerhard Richter or Anselm Kiefer due to the sheer scale, colour, mark-making, movement and physical presence of their art. Richter in particular used a screen-printing squeegee to produce the fast moving waves of colour merges in his paintings, whilst Kiefer uses so many textural materials and mixed-media imagery to determine his ideas on memory and human existence.

“Vapour” © Sean Myers

What is the best bit of advice you have ever received?

To trust your creative gut instinct and to embrace and learn from your mistakes, and never overthink your ideas, as you will end up not experimenting with them in the making process.

“Flora Energy” © Sean Myers

What advice would you give to aspiring creatives?

Embrace all types of influence from the world around us even if you don’t think it is not directly related to art and design. In my view, creativity is a personal expression of what we see, hear and do in our lives and we all think differently to one another. Work hard to try to find your voice/style and ask yourself; how are you different, original and unique from other art and design practitioners?

If you like Sean’s work, pay a visit to his website. Feeling inspired to get creative and experimental? There are also upcoming dates available to book now upon Sean’s Experimental Printmaking and Mixed Media Printmaking courses …see you there!

Our intensive daytime Summer School courses run through until 14 September, with our daytime, evening, weekend, Saturday and online courses in October. View all Short Courses upcoming courses now.

Today we interview Product designer and short course tutor, Alexander Hinnerskov, about his work in the Short Courses exhibition as well as his wider practice and inspirations.

© Studio Alexander Hinnerskov

What is your full name and what short courses do you teach?

My name is Alexander Hinnerskov and I teach Product Design for 16 to 18 Year Olds which is offered as a week-long course as well as Product Design for 16 to 18 Year Olds (Weekend). I also teach a 6-week online course, Introduction to Product Design (Online).

How did you come to work in your field/discipline?

I always knew I wanted to make things from a very early age. I used to spend lots of time in my grandfather’s tool shed making all sorts of toys, gadgets and odd objects. I used to want to be an inventor and then an architect until I discovered product design.

Tell us about your work.

I have worked many years in industry and as a freelancer with the design of home accessories, furniture, lighting and interiors. This has been for a wide variety of clients in both London and Copenhagen, where I am now based.

Where do you get your inspiration from and how do you stay inspired?

I get my inspiration from contemporary art, technology and life around me. How people use things not just on a functional level, but the emotional connections people can have with objects is fascinating. Looking at what my peers are doing keeps me challenged and hungry for more.

© Sid Black and Hamish Mek Chohan

© Sid Black and Hamish Mek Chohan

What are you working on at the moment?

I am working on a product which looks at people’s need to care for and have plants as well as flowers in the home. Research suggests that by doing so people become more present in the moment and disconnect from technology (i.e. phones).

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

It is a selection of my current work in progress titled “A Product Designer’s Wunderkammer”. On show is a unit with four shelves displaying four projects within the areas of home accessories, tableware, storage and packaging. It is a behind-the-scene look at my process including references to my inspiration and models showing the development of an object. It gives you an insight into the may skills used when designing products.

© Studio Alexander Hinnerskov

Which piece of creative work, in any discipline, do you think everyone should see and why?

Everyone should visit the Victoria and Albert Museum. Understanding the culture and history of objects is so important and appreciating that whatever you create is an iteration of the past.

What is the best bit of advice you have ever received?

My drawing teacher, Jannik, used to tell me ‘kill your darlings’. It’s about not getting too attached to the work you are doing which lets you move on to the next project. It sounds destructive, but It means being objective and having an ability to progress. Also, the uncompromising creative rigour of Patrik and Ian of Fredrikson Stallard is something that has stuck with me since working with them. Sometimes the best advice is seeing how it is done.

© Sid Black and Hamish Mek Chohan

What advice would you give to aspiring creatives?

Produce work! As much as you can. Doesn’t matter if it is good or bad. Just make stuff. The more you make the better you will become at it. Put your phone down. Step away from your laptop. Go and make some stuff!

If you like what you see, why not take a look at one of Alexander’s courses?  There are currently upcoming dates on his Product Design for 16 to 18 Year Olds, Product Design for 16 to 18 Year Olds (Weekend) and Introduction to Product Design (Online).

If you enjoy his work, visit www.hinnerskov.com to see more

We interviewed professional jeweller and short course tutor, Anastasia Young, about her work in the Short Courses exhibition as well as her wider practice and inspirations.

© Anastasia Young

What is your full name and what short course/courses do you teach?

My name is Anastasia Young and I teach courses in Experimental Jewellery, Stone Setting in Silver Jewellery, Jewellery Making for Beginners, Jewellery and Wax Carving, Soldering Masterclass (Weekend), Tube Setting (Weekend) and Flush Setting (Weekend).

The courses I teach are very practical, allowing students to learn as they get to grips with the possibilities (and limitations) of the materials being used. I use set projects as a framework for the courses which allows beginners a supportive environment, and also gives intermediate students the chance to push things a bit further when they are ready.

Most of the projects are made in silver, although we use a range of materials throughout the courses, from acrylic and resin to copper, textiles and of course gemstones!

© Anastasia Young

How did you come to work in your field/discipline?

I didn’t plan on becoming an artist initially – in fact I started a science degree – but when that didn’t work out, I applied to a Foundation Diploma course and it was there that I was briefly introduced to metalwork techniques. I have always enjoyed making things and drawing, and the miniature scale of jewellery attracted me enough to want to do a BA in the subject. I was lucky enough to be able to study at CSM and then take an MA at the Royal College of Art; my practise has evolved naturally and I have never had a plan for what I think I should be doing!

I started teaching Short Courses whilst I was doing my Masters and started teaching part-time on the BA Jewellery course not too long after; I attribute the breadth of my knowledge to having to find things out so that I could teach them! This knowledge has allowed me to write three technical jewellery books which have gone on to be translated into seven languages. I am still constantly learning though, and think that one of the best aspects of jewellery-making is that there is always something new to learn in terms of techniques, materials, history, culture and theory – it is a very large subject field.

I am also on the Board of Directors of the Association for Contemporary Jewellery, which is a members’ organisation dedicated to the promotion of contemporary jewellery. We organise exhibitions of members’ work, conferences and publish a bi-annual magazine of which I am the Technical Features Editor.

Studio © Anastasia Young

Tell us about your work.

My time is divided between teaching and my own studio practise, in which I work on private commissions and project-based or exhibition pieces. It was never my intention to become a commercial jeweller, although I do sell jewellery and jewellery-making tools through my online shop.

My jewellery is usually influenced by one of several recurring themes – the most prominent of which is mechanical forms. I am probably best know for my Machina Collection, and it is this style that I am usually commissioned to make. For this work, I am recycling components from broken machines such as cameras and cassette players by transforming them directly into silver or gold, and combining them with handmade elements and semi-precious gemstones. I have a very particular aesthetic for this work and like to use chemicals to colour the silver to give it a sense of age.

© Anastasia Young

What are you working on at the moment?

I’m between two projects at the moment. I’ve just started writing my fourth technical jewellery book which is about a particular metalworking technique that my partner Paul Wells (also a Short Courses tutor) has been developing. It’s already a fascinating project, as Paul is breaking new ground with his technical processes and I am excited to see it develop further.

I am also finishing up the collaborative project that I have been working on with photographer Lindsay Cameron – The Lily Holds Firm. We started the project in 2013, and I don’t think either of us imagined that it would take nearly five years to complete! Using nineteenth century funeral cards as our starting point, we have recreated scenes depicted on the cards. This has meant making physical representations of many of the objects illustrated in these engravings, to scale, and combining them with found objects to build dioramas which we have photographed.

More images of the original cards and the pieces I’ve made inspired by them can be explored at www.thelilyholdsfirm.com.

© Anastasia Young

© Anastasia Young

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

The pieces I have in the exhibition are all from the project The Lily Holds Firm. The Hearts on Chains were made for Card Number 2: The Sacred Link. This piece is the focal point of the whole image and it took several months to complete. Every heart is formed from flat copper sheet, and every link in the chain was made by hand from twisted square brass wire – these are the techniques which I am demonstrating in the video accompanying the exhibition.

The Glory Bangles are made from cast epoxy resin which I have custom dyed. I created them by taking a mould from chandelier crystals, allowing me to recreate many copies in a range of colours. These pieces are used in many of the images in the project, usually blending into the background, so it has been interesting to see them displayed as pieces in their own right.

© Anastasia Young

Which piece of creative work, in any discipline, do you think everyone should see and why?

I tend to enjoy immersive environments more readily than isolated artworks in a gallery context. I find inspiration in collections of objects or curated spaces because I can relate to the narratives behind and between the pieces more readily when they are in conversation with each other. Places that allow you to soak up the atmosphere, such as the Pitt-Rivers Museum, Sir John Soane’s Museum, Dennis Sever’s House or the Isabella Stewart Gardner Museum in Boston are just perfect.

© Anastasia Young

If you like what you see, take a look at one of Anastasia’s many amazing courses! There are upcoming dates in her Experimental Jewellery, Stone Setting in Silver Jewellery, Jewellery Making for Beginners, and Jewellery and Wax Carving courses. If you enjoy her work, why not pay a visit to her website, or follow her on Instagram, Twitter or Facebook.

Today we are having a chat with Designer and Short Course tutor Kangan Arora about her work and her items featured in the short course exhibition

© Kangan Arora

What is your full name and what short course/courses do you teach?

My name is Kangan Arora and I teach some of the Textiles courses here at Central Saint Martins. Summer Study Abroad – Textile Design course, a 3 week intensive summer programme and Screen Printing for Interior Fabric Design, Textile Design Workshop, and Screen Printing on Fabric Workshop (Weekend).

© Kangan Arora

How did you come to work in your field/discipline?

After completing a degree in Fashion Design from NIFT, India I moved to London in 2005 to study on the BA Textile Design at Central Saint Martins, where I specialised in Printed Textiles.

After gaining some experience at a small design studio in South London, I launched my own brand – Kangan Arora – initially designing and making a small collection of soft furnishings that I took to design trade shows to sell. That was back in 2011, and since then the studio has grown a lot and now focuses on design collaborations

Studio © Kangan Arora

Tell us about your work

I run a design studio in South London producing small editions of soft furnishings as well as collaborating with various companies. I’ve designed bedding for Urban Outfitters, limited edition cushions for Heal’s, rugs for Floor_Story and packaging for REN skincare; so the work is quite varied.

My work is driven by a love of craft, colour and geometry and that’s a vein that runs across all the projects.

Kangan Arora X Floor_Story Loha © Kangan Arora

Where do you get your inspiration from and how do you stay inspired?

Inspiration comes in so many forms, but mostly just being in the cultural hotpot that is London. I visit a lot of galleries and exhibitions, meet a lot of interesting people (including the students here!). My main inspiration however, remains India, my home that I visit at least once a year.

What are you working on at the moment (if anything)?

I’m prepping for a 2 week workshop I’m teaching this September in Japan at the Kyoto Design-Lab. I’m also prepping for a Christmas launch of a collection I designed last year for a large design company. Unfortunately I’m not at liberty to say who at this stage but watch this space!

Fluorescent Forest © Kangan Arora

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

The cushions are from my 2015 collection, Fluorescent Forest. I thought it would be fun to show some of the process behind the making of the prints so you can see the original artwork, the screens and a short video of me printing the design.

Which piece of creative work, in any discipline, do you think everyone should see and why?

I think everyone should watch Wong Kar Wai’s In the Mood for Love, it is one of the most beautiful films I’ve ever seen. Each frame is like a still photograph or a renaissance painting, I think it’s a great study in film, photography, art, painting, costume and colour.

Shapescape © Kangan Arora

Shapescape © Kangan Arora

What is the best bit of advice you have ever received?

Be the last man standing.

What advice would you give to aspiring creatives?

Be curious, invest in yourself, be resourceful and just say yes!

Studio © Kangan Arora

Studio © Kangan Arora

Studio © Kangan Arora

Studio © Kangan Arora

© Kangan Arora

© Kangan Arora

Ren X Kangan Arora © Kangan Arora

© Kangan Arora

A video documenting Kangan’s collaboration with REN, which was shown in the exhibition, is available to watch below:

Like what you see? Take a look at some of Kangan’s upcoming courses – upcoming dates are available on her Screen Printing for Interior Fabric Design, Textile Design Workshop and Screen Printing on Fabric Workshop (Weekend) courses.

Enjoy Kangan’s work? See more on her Website or Instagram.

Today we are talking with CSM Short Courses life drawing tutor, David Price, to learn more about his work in the CSM Short Course exhibition and to get a more in-depth look at his own artistic practice.

What is your full name and what short course/courses do you teach?

I’m David Price and I teach Creative Life Drawing, Life Drawing Masterclass – Head, Hands and Feet (Weekend), Anatomical Portrait Drawing, Life Drawing for 16 to 18 Year Olds and Anatomical Drawing for Beginners.

©David Price

How did you come to work in your field/discipline?

I studied life drawing and anatomy when I was a student at Edinburgh College of Art when it was part of the curriculum. It was a rigorous course with an exam at the end  and probably wouldn’t be popular now as it was old fashioned and formal. Still, I did learn a lot and it has come in quite useful again because it is no longer taught in art schools. I have been teaching drawing now for over 25 years and have taught all over London including at the V&A, Tate Modern, Royal Academy and now at Central Saint Martins Short Courses. I try hard to make my courses relevant and fun and not much like the ones I did. People still want to draw people and I’m happy to help them if I can.

©David Price

Tell us about your work, where you get your inspiration from and how do you stay inspired

Like many artists, I have a broad practice doing different things at different times. Painting and Drawing are central to all I do. I also have a studio in Margate where I make work when I’m not teaching. I moved there 5 years ago – but I still show my work through a London gallery.  I am currently working on paintings for a solo exhibition next year so I’m making some huge oil paintings on canvas. Inspiration takes many forms – but as someone once said – it always finds you when you are working.

©David Price

What are you working on at the moment?

My gallery has a new space in West London with big walls so I’m making some big paintings – much bigger than any I’ve made before. Size isn’t everything but it’s a great challenge to make bigger work and it’s pushing me to do things I haven’t tried before. I’ve been experimenting with a faster drying alkyd oil paint which is helping me to work quickly. This in turn has led me to make much bolder paintings that haven’t sat around drying for ages whilst I lose interest in them. Everything – even the large ones – is painted in a day or two, and this makes them very exciting to work on.

©David Price

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

Since most of my teaching at CSM Short Courses is life drawing, I made some drawings as I might do in one of my classes. I wanted people to see me work and see if the course is for them. Life Drawing is almost always fast as the model can only hold the pose for short periods. I like this about these drawings – they were all made quickly whilst I was filmed, so that added to the tension. It was good fun.

© David Price

Which piece of creative work, in any discipline, do you think everyone should see and why?

I’m not sure there is one thing everyone should see as we all like different things. Often, famous paintings when finally seen are a little disappointing in real life – so I think it’s better to be surprised by things and open to new creative works. I have seen a great deal of art work – all over the world – but you can’t really predict when that feeling of being inspired will come. But if you keep your eyes open you’ll see some wonderful things and you don’t usually have to go too far.

©David Price

What is the best bit of advice you have ever received?

I think it was, “Don’t be an artist” My natural inclination to do the opposite has kept me going all these years.

©David Price

What advice would you give to aspiring creatives?

I’d say, don’t be afraid to change and try new things. Most people, despite what they might say, are worried about trying new things and fear they might lose what they can do already. But it’s not true. You can go backwards and forwards and even sideways. It doesn’t matter where you start or how you get there. Nobody cares more than you – so trust your instincts and lead the way.

Watch David’s Exhibition Video below:

If you like what you see, check out David’s upcoming short courses, Creative Life Drawing, Life Drawing Masterclass – Head, Hands and Feet (Weekend), Anatomical Portrait Drawing, Life Drawing for 16 to 18 Year Olds and Anatomical Drawing for Beginners. Want to see more? See all available CSM Short Courses courses starting soon.

We interviewed short course tutor and professional Milliner Jane Fryers about her work in the exhibition, what inspires her, and her advice for aspiring creatives.

What is your full name and what short course/courses do you teach?

My name is Jane Fryers. I teach Millinery Workshop at Central Saint Martins where even complete beginners can make at least two hats in a week, and more experienced milliners can learn new techniques.

Jane Fryers ⓒJane Hilton

How did you come to work in Millinery?

I made my first hat on a Saturday course 20 years ago at London College of Fashion and fell in love with millinery. In 2005 I was awarded a scholarship by the Queen Elizabeth Scholarship Trust to study with Rose Cory MBE, the late Queen Mother’s milliner.

Blanchette Hat
photographer @jonbusby66
model @lady_sj__
make up @sydneebeth

Tell us about your work.

I have always been drawn to working with recycled materials. My Rechauffe Collection of hats with a past brought a stream of clients with pre-loved items of clothing that they ask me to turn into couture hats. I won Capelli nel Mondo with an old Costelloe jacket and came second in the Feltmakers Competition with two tatty felt hats which I sculpted into roses.

Spanish Harlem © Jane Fryers

Where do you get your inspiration from and how do you stay inspired?

Materials usually inspire my work, for instance I was asked by a film-maker to create a hat for her to wear to Ascot. I used a traditional millinery braiding technique to fashion a hat out of 35mm film. She made a film as I created her hat.

I stay inspired by meeting lots of people from many different backgrounds and being open to working with them to create something they want to wear.

Film Hat © Jane Fryers

What are you working on at the moment?

One of my favourite clients is an artist for whom I have designed several hats. The first, Vintage Bohemia, was made from tiny off-cuts of striped stair carpet trim, which is possibly the most difficult material I have worked with. My client now has dread-locks, so her head-size has increased. My hat-stretcher has done all it can…so I’m working on a plan!

Vintage Bohemia Hat © Jane Fryers

Making of Vintage Bohemia Hat © Jane Fryers

Making of Vintage Bohemia Hat © Jane Fryers

Making of Vintage Bohemia Hat © Jane Fryers

Tell us about the work you submitted to be featured in the Central Saint Martins Short Courses exhibition.

My passion is fish leather. I came across it many years ago and have been using it to make couture hats ever since. I travel the world teaching milliners how to work with this fabulous, versatile material.

The work I have submitted is a version of a hat I made to be included in a book of 100 craftspeople that is being published later this year. I used a combination of a relatively new thermoplastic along with the more traditional buckram to make the block (the form used to produce the hat). Keeping the shape simple allows the beauty of the fish leather to shine. The emerald green leather is Indonesian Tilapia fish, the purple flowers are sculpted from Chilean salmon and the silver green stalks and leaves are made from Icelandic cod.

Which piece of creative work, in any discipline, do you think everyone should see and why?

For me it has to be the timeless Michaelangelo’s David at the Accademia Gallery in Florence. The crowd of spectators around you melt away as you look at his simplicity and strength.

What is the best bit of advice you have ever received?

My millinery tutor advised me to apply for a QEST scholarship that totally changed my life.

Fish Leather Beret
photographer @jonbusby66
model @jemimahnicolle
make up @sydneebeth

What advice would you give to aspiring creatives?

Follow your heart, and always remember that you can learn something from everyone you meet.

Jane Fryers and the Queen © Jane Fryers

Fish with Fish Leather ⓒKatya de Grunwald

Fish Leather Swim Hats
photographer @jonbusby66
models@lifeandsoulof.tammy & Didi
make up @sydneebeth

If you want to keep track of Jane’s work, you can follow her on Facebook and Instagram (@janefryersmillinery) or visit her website.

Feeling inspired? There are still a few places left to book on Jane’s Millinery Workshop course starting soon. Act fast before it’s too late!

We interviewed Fashion Director Kristine Kilty to find out more about how she got started and ask for any advise she would give to aspiring creatives.

What is your full name and what short course do you teach?

Kristine Kilty.  I teach three courses for Central Saint Martins Short Courses: Fashion Styling for Beginners, Conceptual Fashion Styling and The Fashion Industry: Careers and Inspiration

How did you come to work in your field/discipline?

I studied Fibre Art, which is a combination of Fine Art and Textiles.  After this I moved to London to study a BA in Textile Design at Central Saint Martins, followed by numerous industry placements and an MA in Fashion Design at Central Saint Martins.  During the MA, I realised I didn’t want to design anymore and I wasn’t sure how I could use the skills I had learnt along the way.  By chance I landed a job at Vivienne Westwood, where I was exposed to styling clients and celebrities for red carpet events, where I also got to meet a lot of other stylists, journalists and creatives.  I was encouraged by Gwen Stefani to follow the path to becoming a stylist.  After this, I just woke up one day, no portfolio, no contacts and decided I was going to become a Fashion Director that works internationally….and made it happen with hard work and determination.  And the rest is history!

Fashion Editorial for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (July 2018)

Tell us about your work.

I work as a Fashion Director/Stylist, predominately working with high end luxury brands.  I live in London but spend a lot of time in Paris, New York, LA and China.  I am lucky enough to have a really varied client base, so I get to work on everything from fashion editorials, advertising campaigns, music videos, TV, live music performances, exhibitions, celebrity portraits and creative collaborations.  I’m a stylist that works to a brief, so I can adapt my style to fit the client.  My personal taste gives a nod to my background in textile design, and I love to mix as much colour, texture and print as possible!

Fashion Editorial for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (July 2018)

Where do you get your inspiration from and how do you stay inspired?

The 1940’s, film, music videos from the 80’s and 90’s, people watching and art exhibitions.

To stay inspired I surround myself with people who have a different creative approach and who challenge me, such as my boyfriend Adam who’s brain is a film reference encyclopedia and he gives me great references to explore.  My best friend Portia who owns POP PR,  constantly introduces me to new designers and collections; and my long term creative collaborator Mike Ruiz who is one of the most talented photographers I have ever met.  And of course, the students I work with at CSM keep me inspired!

Fashion Editorial for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (July 2018)

What are you working on at the moment?

I am just about to return to Paris to spend a few days shooting Haute Couture. 

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

This is a lookbook shoot that I did in China for a client called Toyouth.  The brand is really well known in China and for this lookbook they wanted to change direction with the creative so it was great to do something a little different.  I worked with my long term collaborator, Mike Ruiz, who is an amazing photographer/director from New York.  Myself and Mike work a lot together, we constantly bounce ideas off each other and he pushes me to challenge myself creatively.  When we come up with ideas we are always on the same page and trust each other’s vision.  

Which piece of creative work, in any discipline, do you think everyone should see and why?

Tough question… there is just so much brilliant work across all disciplines to mention. I recently spent the day at the Pompidou Centre in Paris and it is filled with modern art, everything from Kandinsky to Matisse. So many of the pieces that are in the permanent collection are globally recognised and presented all under one roof. It’s incredible! The Pompidou Centre currently has a great exhibition called UAM (Union of Modern Artists), which presents film, furniture, painting, sculpture, industrial design, textiles, interior design, cars and more! The centre in itself is a must-see.  

Lewis Hamilton for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (October 2016)

What is the best bit of advice you have ever received?

Never give up. Never complain that you are tired. And to remember the person booking you for the job may not be a creative, they might have a corporate position, so you need to come across business focused and organised no matter how conceptual your ideas may be. 

Lewis Hamilton for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (October 2016)

What advice would you give to aspiring creatives?

Collaborate with as many other creative’s as possible, even if it’s in a completely different discipline. By challenging yourself and working in different ways, you will push your work further.

Lewis Hamilton for Prestige Hong Kong, photographed by Mike Ruiz and styled by Kristine Kilty (October 2016)

Feeling inspired? Get started straight away – There are a couple of spaces left on Kristine’s summer school courses! Fashion Styling for Beginners, Conceptual Fashion Styling, and The Fashion Industry: Careers and Inspiration. If you want to see more of what Kristine is getting up to, follow her on Twitter or Instagram.

Our Summer School runs from 25 June to 14 September 2018. View all upcoming Summer School courses now! Our full course schedule is available until June 2019, so there is sure to be something for everyone. To see what students are getting up to in the classroom now, have a look at #mycsm on Instagram. You can also follow us @csmshortcourses on Instagram and Twitter. Better yet, join our mailing list to receive the latest news and updates from the Short Course team.

The CSM Short Course Exhibition 2018 is open to the public until 5 September 2018. If you are in London come see us and check it out!
1 Granary Square, London, N1C 4AA

We interviewed professional Milliner and short course tutor Judy Bentinck about her work in the exhibition, where she finds inspiration and her advice for aspiring creatives.

Judy Bentinck – Hitomi 1. Photo © James Champion

What is your full name and what short course do you teach?

My name is Judy Bentinck, I teach the Millinery Workshop.

How did you come to work in your field/discipline?

I originally trained as a textile designer (printed textile design) at Liverpool College of Art. After college I worked in period costume design and making, both for theatre and film. It was working with pattern-cutting that made me interested in thinking and creating three-dimensionally. Later I trained in the craft of millinery with Rose Cory, who was the Queen Mother’s own milliner. With Rose I learned the secrets of traditional couture millinery, gaining an appreciation for true craftsmanship, well-balanced design and exquisite detailing.

Judy Bentinck – Hitomi. Photo © James Champion

Tell us about your work.

I specialise in bespoke hat commissions for events as diverse as royal garden parties, investitures, race days and weddings. I enjoy producing a wide variety of hat styles, including large brims, cocktail hats and delicate headpieces. My hats are both beautiful and accessible, and with over 18 years’ experience in creating special occasion headwear, I can provide expert advice to complement my client’s chosen outfit for the day.

Where do you get your inspiration from and how do you stay inspired?

My current collection is inspired by a recent visit to Japan, in particular textile motifs and repeat floral patterns seen on traditional and contemporary kimonos. Such a rich and exciting visual resource, I expect it will inspire many more collections to come! The visual exploration of gathering textile samples, sketching and collaging is at the core of the hat collection.

I do travel regularly and experiencing new cultures is always a great source of inspiration.

Alexandra Burke wears hat by Judy Bentinck

What are you working on at the moment?

This season I’ve completed several hat commissions for Royal Ascot. One of them was a bold black sequinned fabric and sinamay headpiece for singer/performer Alexandra Burke, who looked stunning as she presented the Trophy during Ladies’ Day for the Norfolk Stakes to jockey Joel Rosario and trainer Wesley Ward.

Tell us about the work you submitted, being featured in the Central Saint Martins Short Courses exhibition.

I chose two contrasting hats in order to showcase the range of classic millinery techniques which will be taught on the millinery workshop here at Central St Martins.

• An organza parisisal button cocktail hat with three dramatic upright curled Lady Amhurst  feathers and small pheasant feathers.
• An exuberant emerald green sinamay cocktail hat, decorated with sculptural Calla lilies and peacock feathers.

Judy Bentinck – Fuuna. Photo © James Champion

Which piece of creative work, in any discipline, do you think everyone should see and why?

I think everyone should see J.M.W. Turner’s paintings up close – they can be seen in the collection of Tate Britain in London. The lighting and his vision, his use of colour and paint are incredible. By looking at his work, each individual will experience a distinctive mood and emotion.

What is the best bit of advice you have ever received?

My father told me that when creating a piece of design, if you think a line doesn’t look right, then you should trust that instinct. To this day I still adhere to this.

What advice would you give to aspiring creatives?

Focus on your goals, be persistent and tenacious!

Judy Bentinck – Harumi. Photo © James Champion

Judy Bentinck – Michiyo. Photo © James Champion

Judy Bentinck – Sanae. Photo © James Champion

If you want to keep track of Judy’s work, you can follow her on Twitter (@judybentinck) or visit her website.

Feeling inspired? There are still a few places left to book on Judy’s Millinery Workshop course starting at the end of July. Act fast before it’s too late! View all upcoming short courses on our website.