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Issue 4<br />

Sex, lies and videotape<br />

The fine art <strong>of</strong> innovation<br />

Talent on tap<br />

When life’s a journey<br />

<strong>Creating</strong><br />

<strong>pleasure</strong><br />

The <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> magazine for business


Contents<br />

01<br />

Welcome to halo<br />

02<br />

Seduced by Artakt<br />

04<br />

Sex, lies and videotape<br />

07<br />

When epigenetics met origami<br />

08<br />

Teaming <strong>the</strong> very best<br />

with <strong>the</strong> very best<br />

10<br />

Consuming <strong>pleasure</strong>s<br />

12<br />

Objects <strong>of</strong> desire<br />

14<br />

Short cuts to creativity<br />

16<br />

The publisher’s tale<br />

18<br />

Designs on <strong>the</strong> good life<br />

20<br />

Talent on tap<br />

21<br />

The fine art <strong>of</strong> innovation<br />

22<br />

When life’s a journey<br />

24<br />

Facilities for innovation<br />

Cover image<br />

The Bondage Locket<br />

from BA Jewellery<br />

graduate Emily Pearson’s<br />

Cut a Dash Collection.<br />

Right<br />

After Michelangelo, Fig Leaf<br />

for Michelangelo’s David, 1857,<br />

Plaster cast. Victoria & Albert<br />

Museum, London Photo © V&A<br />

Images/Victoria and Albert<br />

Welcome<br />

to halo<br />

Autumn 2007 marks <strong>the</strong> launch <strong>of</strong> one <strong>of</strong> London’s<br />

most controversial art exhibitions for years: Seduced<br />

at <strong>the</strong> Barbican Art Gallery curated by Artakt, part<br />

<strong>of</strong> CSM Innovation. What a good excuse to explore<br />

having fun and <strong>the</strong> good things in life!<br />

We’re not just looking at sex and sensuality<br />

in art but also at food, creativity, health, wellbeing<br />

and fine whisky. We’ve even tried to improve<br />

<strong>the</strong> lot <strong>of</strong> <strong>the</strong> beleaguered air traveller with<br />

new luggage, and <strong>the</strong> life <strong>of</strong> <strong>the</strong> dispirited consumer<br />

with fresh shopping opportunities.<br />

This being <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> Innovation<br />

we’re also launching some new ideas and new<br />

businesses including our first media spin-out,<br />

Fifzine.com; ten years <strong>of</strong> publishing beautiful student<br />

textbooks (not an oxymoron, just check out page<br />

16); and a new research project that gets to grips<br />

with how fine artists – vanguard <strong>of</strong> <strong>the</strong> creative<br />

industries – really contribute to innovation.<br />

Dani Salvadori<br />

Head <strong>of</strong> Enterprise & Innovation<br />

halo 3


Seduced<br />

by Artakt<br />

‘Instead <strong>of</strong> an agenda to shock <strong>the</strong>y have<br />

a mission to inform’, said one reviewer.<br />

On <strong>the</strong> eve <strong>of</strong> <strong>the</strong>ir spectacular new show<br />

Seduced, Gaynor Aaltonen catches up with<br />

<strong>the</strong> creative duo known as Artakt.<br />

The first exhibition Marina Wallace and Martin<br />

Kemp curated, Spectacular Bodies: The Art and Science<br />

<strong>of</strong> <strong>the</strong> Human Body from Leonardo to Now, opened<br />

in 2000 at London’s Hayward Gallery. A riveting<br />

mix <strong>of</strong> five centuries <strong>of</strong> history, science and art,<br />

it was not for <strong>the</strong> faint-hearted. Fascinating and<br />

gory, it was filled with pathos as well as beauty.<br />

The show covered everything from dissection rituals<br />

to mental illness, and included <strong>the</strong> anatomical<br />

Model <strong>of</strong> a flying machine<br />

based on drawings<br />

by Leonardo da Vinci,<br />

at <strong>the</strong> V&A museum<br />

drawings <strong>of</strong> Leonardo da Vinci, Michelangelo,<br />

Dürer and Stubbs, as well as paintings by Degas<br />

and contemporary installations from artists like<br />

Bill Viola. The contemporary material gave <strong>the</strong><br />

historic new perspective. It was high art in<br />

a down-to-earth context <strong>of</strong> medical instruments,<br />

prints and drawings.<br />

Artakt’s trademark is to root its work in both<br />

art and science. In an age when an artist’s materials<br />

can just as easily include a neon tube as a paintbrush,<br />

and technology is becoming ever more dominant,<br />

it seems logical that <strong>the</strong> arts and sciences, divided<br />

in <strong>the</strong> 19th century, should come toge<strong>the</strong>r again.<br />

“We both feel passionately that art and science<br />

have been treated as if <strong>the</strong>y have nothing<br />

in common,” says Wallace. “Science is a fundamental<br />

thing, and so is scientific curiosity – <strong>the</strong> questioning<br />

<strong>of</strong> what’s around us. Once you close that down<br />

you end with ignorance. Both as an educator<br />

and as someone with her own sense <strong>of</strong> curiosity<br />

I feel each field informs <strong>the</strong> o<strong>the</strong>r. Renaissance<br />

Man was thirsty for all kinds <strong>of</strong> knowledge.”<br />

Wallace, a pr<strong>of</strong>essor at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>,<br />

is a Renaissance specialist. Her Artakt co-founder,<br />

Martin Kemp, trained in natural sciences as well<br />

as art history, and is now pr<strong>of</strong>essor <strong>of</strong> <strong>the</strong> History<br />

<strong>of</strong> Art at Oxford <strong>University</strong>. “At <strong>the</strong> time <strong>of</strong> <strong>the</strong><br />

Renaissance,” he says, “<strong>the</strong>re was no separation<br />

between art and science. By <strong>the</strong> 19th century,<br />

however, <strong>the</strong>re were colleges for art and universities<br />

for science. You had to choose a route and abandon<br />

one or <strong>the</strong> o<strong>the</strong>r.”<br />

So Artakt, now part <strong>of</strong> <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong><br />

Innovation, has decided to do something about<br />

it. For 2003’s Head On exhibition – co-curated<br />

by <strong>the</strong> Wellcome Trust, a major sponsor and<br />

supporter – artists were brought toge<strong>the</strong>r<br />

with neuroscientists. Ano<strong>the</strong>r show, on Mendel<br />

and genetics, teamed artists with molecular specialists.<br />

In <strong>the</strong> case <strong>of</strong> Spectacular Bodies, artists and scientists<br />

got toge<strong>the</strong>r at a two-day conference. This in itself<br />

makes <strong>the</strong> Artakt duo much more than conventional<br />

curators, but <strong>the</strong> difference doesn’t stop <strong>the</strong>re.<br />

As well as curating <strong>the</strong>ir shows, Wallace and Kemp<br />

commission new work for <strong>the</strong>m.<br />

Says artist Katharine Dowson: “I think<br />

what Marina and Martin do is unique. It’s akin<br />

to <strong>the</strong> old idea <strong>of</strong> having a patron, but here<br />

<strong>the</strong> artist’s vision is partmount.”<br />

There was a time when curating was seen<br />

as a bit <strong>of</strong> a sideshow if you were an art expert.<br />

Things have changed drastically, with academic<br />

research and knowledge now feeding back into<br />

<strong>the</strong> public arena. Says Wallace: “Artakt is different,<br />

because it’s based at a university. Scientists are<br />

positively encouraged to set up <strong>the</strong>ir own businesses,<br />

but it’s been different for <strong>the</strong> arts. Within CSM<br />

Innovation business and enterprise are working<br />

with research, and things are changing rapidly.”<br />

And when it comes to <strong>the</strong> shows <strong>the</strong>mselves,<br />

what distinguishes Artakt’s work? “Ambition,”<br />

says <strong>the</strong> Barbican’s head <strong>of</strong> exhibitions Kate Bush,<br />

currently working with Wallace and Kemp on <strong>the</strong>ir<br />

major new show, Seduced. “In an Artakt exhibition<br />

you’re just as likely to find an artefact from 480 BC<br />

as an artwork <strong>of</strong> today. The work has reach. It’s quite<br />

something to tackle 2,000 years <strong>of</strong> art head on.”<br />

Marina Wallace and Martin Kemp<br />

by London’s Hayward Gallery<br />

where <strong>the</strong>y curated Spectacular<br />

Bodies: The Art and Science <strong>of</strong><br />

<strong>the</strong> Human Body from Leonardo<br />

to Now.<br />

Installation shot <strong>of</strong> Spectacular<br />

Bodies, (Hayward Gallery, 2000)<br />

curated by Martin Kemp and<br />

Marina Wallace <strong>of</strong> Artakt.<br />

4 halo halo 5


Sex, lies and videotape<br />

Gaynor Aaltonen previews this autumn’s<br />

most controversial exhibition, Seduced, curated<br />

by CSM Innovation’s Artakt team with<br />

Joanne Bernstein.<br />

Sex gets noticed, <strong>the</strong>re’s no doubt about<br />

it. Sex, and its adjunct, <strong>the</strong> human body, are also<br />

<strong>the</strong> most painted, most sculpted and most drawn<br />

subjects in <strong>the</strong> history <strong>of</strong> art. In Seduced: Art<br />

and Sex from Antiquity to Now <strong>the</strong> works on show<br />

document solely <strong>the</strong> moments before, during<br />

and after seduction. And as Kate Bush, head<br />

<strong>of</strong> exhibitions at <strong>the</strong> Barbican, points out: “That’s<br />

more than enough material!”<br />

Curated by Artakt’s Marina Wallace and Martin<br />

Kemp, and co-curated by Joanne Bernstein, Seduced<br />

looks certain to spark a lively debate about shifting<br />

attitudes when it opens at <strong>the</strong> Barbican Art Gallery<br />

this autumn.<br />

The exhibition is bound to be controversial –<br />

expect considerable thundering and mumbling from<br />

<strong>the</strong> press. Yet we are all here as a result <strong>of</strong> a sexual<br />

act, as <strong>the</strong> curators point out. It’s just that humans<br />

are experts at developing elaborate social frameworks<br />

for expressing and regulating sex. Ideas about what<br />

is or isn’t too ‘explicit’ have shifted and warped over<br />

centuries, with artists at <strong>the</strong> forefront <strong>of</strong> change.<br />

“We’ll look at <strong>the</strong> history <strong>of</strong> acceptability<br />

and censorship to see just how fluid it has been,”<br />

says Pr<strong>of</strong>essor Wallace.<br />

Drawn from a huge range <strong>of</strong> public and private<br />

collections around <strong>the</strong> world, <strong>the</strong> work on show spans<br />

2,000 years. It includes Roman marbles, Indian<br />

manuscripts, Renaissance and baroque paintings<br />

and sculptures, Chinese paintings and prints, Japanese<br />

woodcuts, 19th century photographs and<br />

contemporary video. Unsurprisingly perhaps,<br />

some <strong>of</strong> <strong>the</strong> 250 items have never been seen before<br />

in public, while o<strong>the</strong>rs are rarely shown. In <strong>the</strong><br />

case <strong>of</strong> Picasso’s 1903 La Douleur (Scène Erotique),<br />

New York’s Metropolitan Museum <strong>of</strong> Art has never<br />

dared hang it.<br />

Fragonard (1732-1806)<br />

The Beautiful Servant<br />

(Pointless Resistance)<br />

Purchased 1958<br />

with contribution from<br />

National Musei Vänner<br />

and anonymous donor<br />

The National Museum<br />

<strong>of</strong> Fine <strong>Arts</strong>, Stockholm<br />

Photo © The National<br />

Museum <strong>of</strong> Fine<br />

<strong>Arts</strong>, Stockholm<br />

Left: Unknown Artist,<br />

The private <strong>pleasure</strong> <strong>of</strong> Prince<br />

Mohammad Agar son<br />

<strong>of</strong> Aurangzeb by Rashid<br />

c. 1678 to 1698. Miniature<br />

painting, body colour<br />

including white, pen and ink<br />

with gold on paper. Fitzwilliam<br />

Museum, Cambridge.<br />

© Fitzwilliam Museum,<br />

<strong>University</strong> <strong>of</strong> Cambridge<br />

Below: Requiem by k r buxey<br />

2002. Hea<strong>the</strong> and Tony<br />

Podesta Collection<br />

Washington D.C. © <strong>the</strong> artist.<br />

6 halo halo 7


Many <strong>of</strong> <strong>the</strong>se collections have existed in secret right<br />

under our noses. At <strong>the</strong> British Museum a ‘secretum’<br />

<strong>of</strong> morally corrupting objects was kept hidden from<br />

ordinary eyes, in cupboard 55 <strong>of</strong> <strong>the</strong> Department<br />

<strong>of</strong> Medieval and Later Antiquities. Ancient objects<br />

from both cupboard 55 and <strong>the</strong> Neopolitan Cabinet<br />

<strong>of</strong> Obscene Objects, set up in 1819, will be on display<br />

at <strong>the</strong> Barbican, including erotic fresco fragments<br />

from a Pompeiian bro<strong>the</strong>l.<br />

Is an explicit fresco from a bro<strong>the</strong>l pornography?<br />

Or does antiquity transform it into art? These<br />

questions run parallel to those posed by Jeff Koons<br />

in his Ilona on Top – a work that brings notions<br />

<strong>of</strong> beauty, sensuality, honesty and acceptability<br />

abruptly toge<strong>the</strong>r. Says Pr<strong>of</strong>essor Kemp: “We hope<br />

it will be exhilarating to visit an exhibition that<br />

unlocks <strong>the</strong> forbidden cupboard to become part<br />

<strong>of</strong> its own history.”<br />

But courting controversy is not <strong>the</strong> aim.<br />

Following exhibitions devoted to <strong>the</strong> human body<br />

and head, it seemed a natural progression to tackle<br />

emotions linked to depictions <strong>of</strong> <strong>the</strong> human form<br />

before, during and after seduction.<br />

“We do confront issues like fear <strong>of</strong> sex<br />

and sexual repression,” says Wallace. “But we’ve<br />

deliberately steered clear <strong>of</strong> questions <strong>of</strong> gender.<br />

This is more a celebration than anything else.”<br />

Seduced:Art and Sex from Antiquity to Now is at <strong>the</strong><br />

Barbican Art Gallery from 12 October 2007 to 27 January<br />

2008. Over 70 artists are featured including Araki, Francis<br />

Bacon, Aubrey Beardsley, Hans Bellmer, Marcel Duchamp,<br />

Marlene Dumas, Tracey Emin, Jean Honoré Fragonard,<br />

Luca Giordano, Katsushika Hokusai, Robert Mapplethorpe,<br />

André Masson, Rembrandt, Pacello de Rosa, Auguste<br />

Rodin, Thomas Ruff, Guilio Romano, Egon Schiele,<br />

Bartholomaus Spranger, J M W Turner, Kitagawa Utamaro<br />

and Andy Warhol.Over-18s only.<br />

Jeff Koons Ilona on Top<br />

(Rosa background) 1990<br />

Oil inks on canvas Private<br />

collection, courtesy Galerie<br />

Max Hetzler, Berlin<br />

© Jeff Koons<br />

When epigenetics<br />

met origami<br />

A creative analogy with <strong>the</strong> Japanese art<br />

<strong>of</strong> paper folding is helping to communicate<br />

an important new science. Barry Hunter reports.<br />

Take seven world-class scientists in <strong>the</strong> new<br />

field <strong>of</strong> epigenetics. Add 40 designers from MA Textile<br />

Futures and MA Industrial Design at <strong>Central</strong> <strong>Saint</strong><br />

<strong>Martins</strong>. Shake lightly under workshop conditions.<br />

The result? Epigami – an elegant solution<br />

to <strong>the</strong> challenge <strong>of</strong> describing epigenetics that draws<br />

a nice parallel with origami.<br />

The new science is all about <strong>the</strong> genetic patterns<br />

that shape our health. So where’s <strong>the</strong> link with<br />

an ancient Japanese art? “The blank paper<br />

is <strong>the</strong> DNA,” explains Brona McVittie, Epigenome<br />

Public Science Officer and Epigami project partner.<br />

“When you fold <strong>the</strong> paper to create a particular<br />

structure, each fold both enables and constrains<br />

fur<strong>the</strong>r potential folds in a way that mirrors<br />

a cell’s journey to maturity.”<br />

From <strong>the</strong> creased paper, on <strong>the</strong> o<strong>the</strong>r hand,<br />

it’s difficult to fashion something new – just<br />

as cells committed to a fate cannot, beyond a certain<br />

point, be reprogrammed. “It’s an analogy that works,”<br />

says Brona, “because it’s been thought through. This<br />

is <strong>the</strong> best tool we have for explaining epigenetics<br />

to someone who’s new to it.”<br />

For Carole Collet, project coordinator<br />

and Course Director <strong>of</strong> MA Textile Futures<br />

at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>, Epigami is pro<strong>of</strong> positive<br />

<strong>of</strong> design’s role and value in clarifying <strong>the</strong> world<br />

and our response to it in ways that transcend<br />

<strong>the</strong> aes<strong>the</strong>tic imagination.<br />

“The students loved it. For me, it was a gamble<br />

to confront design with science so blatantly and <strong>the</strong>n<br />

wait to see what happened. Now we want to export<br />

<strong>the</strong> Epigami collaborative model to o<strong>the</strong>r colleges<br />

in Europe. I think it shows that designers are looking<br />

‘beyond’ in order to be inspired.”<br />

As a communications tool, Epigami will help<br />

teachers describe what epigenetics is. It’s just<br />

one successful outcome <strong>of</strong> <strong>the</strong> Fabrics <strong>of</strong> Life project<br />

that marries design to discovery with <strong>the</strong> support<br />

<strong>of</strong> <strong>the</strong> MRC and <strong>the</strong> Epigenome Network<br />

<strong>of</strong> Excellence.<br />

<strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> design<br />

students participating<br />

at a Fabrics <strong>of</strong> Life workshop,<br />

June 2007. Credit: Brona<br />

McVittie (Public Science<br />

Communications,<br />

www.epigenome.eu)<br />

Origami crows developed<br />

at <strong>the</strong> student workshop<br />

to demonstrate <strong>the</strong> use<br />

<strong>of</strong> ‘epigami’.<br />

8 halo halo 9


Teaming <strong>the</strong><br />

very best with<br />

<strong>the</strong> very best<br />

Textile design fellows are linking<br />

with Nobel prize-winning scientists<br />

to develop textiles that respond<br />

to breakthrough science.<br />

Barry Hunter is inspired Designers<br />

and scientists from<br />

<strong>the</strong> Nobel Textiles project.<br />

Precisely what does a sea urchin’s egg have<br />

to do with interior design? The answer shimmers<br />

tantalisingly within <strong>the</strong> futuristic landscape <strong>of</strong> Nobel<br />

Textiles – a suite <strong>of</strong> groundbreaking collaborations<br />

teaming Nobel laureates with innovative textile<br />

and fashion designers at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>.<br />

Toge<strong>the</strong>r <strong>the</strong> collaborations form a major strand<br />

<strong>of</strong> <strong>the</strong> ambitious Fabrics <strong>of</strong> Life project sponsored<br />

by <strong>the</strong> Medical Research Council and <strong>the</strong><br />

Epigenome Network <strong>of</strong> Excellence.<br />

When Tim Hunt made his Nobel prize-winning<br />

voyage into <strong>the</strong> secret life <strong>of</strong> <strong>the</strong> sea urchin’s egg<br />

he discovered an array <strong>of</strong> suddenly vanishing<br />

proteins. Later found in many o<strong>the</strong>r organisms,<br />

so-called cyclins control whe<strong>the</strong>r and when cells<br />

divide, <strong>the</strong>ir malfunction posing a risk <strong>of</strong> cancer.<br />

For interactive wallpaper designer Rachel Kelly<br />

<strong>the</strong> cyclin cycle proved an inspirational trigger.<br />

Cyclin is concealed and disappears during cell<br />

mitosis – now you see it, now you don’t – but<br />

<strong>the</strong> imprint or memory <strong>of</strong> its original form resides<br />

in each duplicated cell. Rachel’s response? To create<br />

wallpaper whose patterns reinvent <strong>the</strong>mselves<br />

in ways that evoke Tim Hunt’s cycles <strong>of</strong> mitosis.<br />

In communicating <strong>the</strong> very nature <strong>of</strong> change<br />

and challenging our perceptions <strong>of</strong> it, Rachel’s<br />

creative response – one <strong>of</strong> five Nobel Textiles<br />

innovations ranging from geomaterials for urban<br />

food production to clothing designs informed<br />

by MRI scanning insights – is in line with<br />

a new textiles revolution for <strong>the</strong> 21st century.<br />

It’s a revolution shaped by <strong>the</strong> emergence<br />

<strong>of</strong> intelligent technologies, a demand for closer<br />

relations between design and science, and our<br />

deepening desire for inspirational experience.<br />

“These collaborations were particularly<br />

exciting for us because we went far beyond<br />

<strong>the</strong> expectations <strong>of</strong> our scientists,” says Carole Collet,<br />

Nobel Textiles coordinator and Course Director<br />

<strong>of</strong> MA Textile Futures at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>.<br />

“There was an assumption that we would confine<br />

ourselves to aes<strong>the</strong>tic enquiries, but we probed<br />

product and ethical issues too. The key requirement<br />

for us as designers was to transcend <strong>the</strong> idea<br />

<strong>of</strong> pretty pictures in order to describe <strong>the</strong> principles<br />

<strong>of</strong> scientific discovery.”<br />

For <strong>the</strong> Medical Research Council, which<br />

sponsored each <strong>of</strong> <strong>the</strong> five collaborations to <strong>the</strong> tune<br />

<strong>of</strong> £2,000 and provided a similar sum to make<br />

a documentary film record <strong>of</strong> <strong>the</strong> project, Nobel<br />

Textiles is part <strong>of</strong> an engagement and outreach<br />

programme that places science at <strong>the</strong> heart<br />

<strong>of</strong> real life.<br />

Explains Amanda Fisher, scientist at <strong>the</strong> MRCfunded<br />

Clinical Sciences Centre and chief architect<br />

with Carole Collet <strong>of</strong> <strong>the</strong> Nobel Textiles idea:<br />

“In biology we find layers <strong>of</strong> information –<br />

<strong>the</strong> DNA, <strong>the</strong> proteins, <strong>the</strong> cells – coming toge<strong>the</strong>r<br />

to form one fabric. It reminded me <strong>of</strong> an eiderdown.<br />

That’s where it started. What I found exciting<br />

was inviting a creative community to explain<br />

what science really is. And I have to say it’s incredibly<br />

rewarding to help people at <strong>the</strong> top <strong>of</strong> <strong>the</strong>ir game<br />

collaborate successfully.”<br />

Adds Brona McVittie, Epigenome Public Science<br />

Officer and project partner: “One <strong>of</strong> <strong>the</strong> happiest<br />

outcomes here has been <strong>the</strong> obvious <strong>pleasure</strong><br />

and benefit derived by our contributing scientists.<br />

Sometimes a senior scientist’s public engagement<br />

role can be onerous, but <strong>the</strong> whole Fabrics <strong>of</strong> Life<br />

experience has prompted <strong>the</strong>m – has prompted<br />

us all – to think positively about new ways<br />

to communicate science.”<br />

As filmmaker Kirstin von Glasow cuts<br />

a documentary record <strong>of</strong> <strong>the</strong> Nobel Textiles<br />

collaborations for TV broadcast, <strong>the</strong> project’s partners<br />

are looking ahead. “We’re discussing a proposal right<br />

now for <strong>the</strong> funding <strong>of</strong> a second stage,” says Amanda<br />

Fisher. “Stage 2 is about developing prototypes<br />

from our five amazing collaborations. The third<br />

phase <strong>of</strong> <strong>the</strong> project envisages a Nobel Textiles<br />

exhibition in 2008.”<br />

Stop Press: Support for <strong>the</strong> development phase<br />

<strong>of</strong> <strong>the</strong> Nobel Textiles project has just been confirmed<br />

by <strong>the</strong> Medical Research Council.<br />

Design fellow Rachel<br />

Wingfield and Nobel prize<br />

winning scientist John Walker<br />

working toge<strong>the</strong>r to develop<br />

textiles that visualise scientific<br />

discovery. Image from <strong>the</strong><br />

Fabrics <strong>of</strong> Life film by Kirstin<br />

von Glasow<br />

10 halo halo 9


Consuming<br />

<strong>pleasure</strong>s<br />

Liz Adams finds out how <strong>Central</strong><br />

<strong>Saint</strong> <strong>Martins</strong> graduates are putting<br />

<strong>the</strong> <strong>pleasure</strong> back into shopping<br />

Sense and Sensuality<br />

Sense and Sensuality founder Charles Hayes,<br />

is hardly a wet-behind-<strong>the</strong>-ears arts graduate<br />

starting a business on a whim. Before starting<br />

<strong>the</strong> MA in Narrative Environments he worked<br />

for Deloitte Consulting and Price Waterhouse<br />

Consulting and <strong>the</strong>n did a stint in interactive media,<br />

which culminated in setting up Scient’s Tokyo <strong>of</strong>fice.<br />

“I was a bit <strong>of</strong> an oddball at CSM,” he recalls,<br />

“because my background was an even split between<br />

business and creative practice.”<br />

As part <strong>of</strong> his MA, Charles took <strong>the</strong> 10-week<br />

New Creative Ventures course run by <strong>University</strong><br />

<strong>of</strong> <strong>the</strong> <strong>Arts</strong> London and <strong>the</strong> London Business School.<br />

As well as <strong>of</strong>fering business advice and creative input,<br />

<strong>the</strong> experience introduced Charles to <strong>the</strong> venture<br />

capital community and culminated with his<br />

acceptance onto an investment readiness programme.<br />

The catalyst for starting his own business was<br />

his degree show concept – Bloom Sensual Wellbeing:<br />

<strong>the</strong> Role <strong>of</strong> Sex Products in Holistic Health<br />

& Wellness Retail. Charles explains:“I had already<br />

done <strong>the</strong> 9 to 5 thing for a very long time in <strong>the</strong><br />

USA and Japan. I decided that if I was going<br />

to put in <strong>the</strong> hours, I wanted to do it for myself<br />

and do it in something I believed in.”<br />

And what he does is Sense and Sensuality,<br />

a collection <strong>of</strong> sensual products from massage oils<br />

to beautifully presented bedroom sets. The unique<br />

thing about Sense and Sensuality is that<br />

it isn’t just about retail – it explores <strong>the</strong> whole<br />

experience <strong>of</strong> sensuality. The website includes<br />

a series <strong>of</strong> conversations with a range <strong>of</strong> experts<br />

Charles has worked with in order to develop<br />

his products. The site acts more like a trusted<br />

confidante than a sales platform, urging browsers<br />

to embrace <strong>the</strong>ir sensuality.<br />

Visit: www.sense-and-sensuality.com<br />

A range <strong>of</strong> products from<br />

<strong>the</strong> luxurious Sense and<br />

Sensuality range to help<br />

awaken your senses and find<br />

your spiritual wellbeing.<br />

Beyond <strong>the</strong> Valley<br />

Carnaby Street, once <strong>the</strong> haunt <strong>of</strong> Mary Quant<br />

and <strong>the</strong> Mods <strong>of</strong> <strong>the</strong> Swinging Sixties, appears<br />

to have lost its way in recent years. Delve into<br />

<strong>the</strong> back streets, however, and you’ll notice <strong>the</strong> quirky<br />

spirit <strong>of</strong> <strong>the</strong> area lives on in <strong>the</strong> one-<strong>of</strong>f boutiques,<br />

including Beyond <strong>the</strong> Valley, a not-for-pr<strong>of</strong>it retail<br />

gallery and studio space that epitomises <strong>the</strong> fresh<br />

young talents reviving <strong>the</strong> area.<br />

Beyond <strong>the</strong> Valley was founded by Jo Jackson,<br />

Kate Harwood and Kristjana Williams, BA Graphic<br />

Design graduates, who initially opened a shop<br />

to take <strong>the</strong>ir graduate show to a broader audience.<br />

The demand from customers wanting to buy <strong>the</strong>ir<br />

wares and designers wanting to supply <strong>the</strong>m<br />

was enough to convince <strong>the</strong>m <strong>the</strong>y had <strong>the</strong><br />

beginnings <strong>of</strong> a business on <strong>the</strong>ir hands. They turned<br />

to ECCA (Enterprise Centre for Creative <strong>Arts</strong>)<br />

at London College <strong>of</strong> Communication for business<br />

training and advice. Now <strong>the</strong>y can <strong>of</strong>fer practical<br />

help to new designers who join <strong>the</strong>ir co-operative<br />

via a designer development programme, which<br />

as well as giving general business, manufacturing<br />

and distribution advice also provides feedback<br />

on <strong>the</strong> public’s reaction to <strong>the</strong>ir stock. Beyond<br />

<strong>the</strong> Valley features fashion alongside graphic<br />

and product design with stock from over 100 newly<br />

graduated London-based artists.<br />

In a shop crammed with innovative designs,<br />

contemporary chandeliers jostle for space with<br />

typography bags and artwork. There’s something<br />

whimsical, eccentric and utterly English about many<br />

<strong>of</strong> <strong>the</strong> creations here, but <strong>the</strong> founders keep an eye<br />

on talent from outside <strong>the</strong> UK. Setting up guerrilla<br />

establishments in Finland gave <strong>the</strong>m <strong>the</strong> opportunity<br />

to scout for local talent. They plan to replicate this<br />

format in Shanghai with <strong>the</strong> aim <strong>of</strong> working with<br />

20 Chinese designers. Add <strong>the</strong>se international forays<br />

to <strong>the</strong>ir successful website presence and you’ll see<br />

Beyond <strong>the</strong> Valley is gaining a following far beyond<br />

Carnaby Street.<br />

Visit: www.beyond<strong>the</strong>valley.com<br />

Eco-boudoir brings sexuality<br />

to <strong>the</strong> home by creating<br />

beautiful luxurious underwear<br />

and s<strong>of</strong>t furnishings.<br />

Kate Harwood, Kristjana<br />

Williams and Jo Jackson,<br />

partners <strong>of</strong> Beyond <strong>the</strong> Valley.<br />

Image by Mike Massingham<br />

Eco-Boudoir<br />

Luxury – with its connotations <strong>of</strong> conspicuous waste<br />

– and sustainability, which implies more hemp than<br />

hedonism, aren’t easy bedfellows. But MA Textile<br />

Futures graduate Jenny White has identified a new<br />

type <strong>of</strong> consumer who doesn’t want to sacrifice<br />

<strong>the</strong> environment any more than personal style,<br />

and this is <strong>the</strong> target audience for her luxury goods<br />

label Eco-Boudoir.<br />

Jenny’s product range covers textiles and lingerie<br />

and puts <strong>the</strong> boudoir back into <strong>the</strong> bedroom. Her<br />

creations inspire an indulgence <strong>of</strong> adjectives –<br />

decadent, elegant, sumptuous, sensual, smouldering,<br />

sophisticated. It’s her passion for ensuring that every<br />

stage <strong>of</strong> <strong>the</strong> manufacturing process is sustainable<br />

and as environmentally friendly as possible, whe<strong>the</strong>r<br />

its sourcing bamboo fabrics or non-chemically<br />

treated lea<strong>the</strong>r, that puts Jenny’s designs on a higher<br />

plain than o<strong>the</strong>r luxury brands.<br />

With little practical experience <strong>of</strong> starting<br />

a business, Jenny adopted a magpie approach<br />

to skills and talents in order to get Eco-Boudoir<br />

<strong>of</strong>f <strong>the</strong> ground. She drew on her fa<strong>the</strong>r’s experience<br />

<strong>of</strong> running his own business, and her sister’s skills<br />

in fashion management.<br />

And <strong>the</strong> results have been enviable. Jenny won<br />

<strong>the</strong> coveted Observer Green Award and has had lots<br />

<strong>of</strong> press coverage. As she spoke to halo she had just<br />

sent her new collections to Liberty and Phoebe<br />

Carlyle in London, and Catriona Mackechnie<br />

in New York, and was fielding interest from some<br />

o<strong>the</strong>r big names in <strong>the</strong> retail world.<br />

Visit: www.eco-boudoir.com<br />

12 halo halo 13


Born from <strong>the</strong> idea<br />

<strong>of</strong> manifesting one’s secrets<br />

into a product this heavy silver<br />

digital locket holds up<br />

to twenty photos <strong>of</strong> your many<br />

lovers, and can be changed<br />

instantly depending on who<br />

you are meeting, what area<br />

<strong>of</strong> town you are shopping<br />

in, or what night <strong>of</strong> <strong>the</strong> week<br />

it is. Stamped sterling silver,<br />

induction charged and with<br />

WiFi and Bluetooth<br />

capabilities this digital locket<br />

will hold even your deepest,<br />

darkest secrets.<br />

Emily McGeevor<br />

+44 (0)7904974512<br />

Emily@kith-kin.co.uk<br />

‘The Golden Age <strong>of</strong> Modest<br />

Thrills’ displays vulgarity<br />

in an elegant fashion. Using<br />

ceramic lockets to draw<br />

on <strong>the</strong> ideals <strong>of</strong> modesty<br />

and chivalry, yellow gold<br />

and black rhodium to highlight<br />

bold gestures.<br />

Rosie Kent<br />

rosie@smutlane.co.uk<br />

www.smutlane.co.uk<br />

Hayley Friel’s jewellery aims<br />

to evoke <strong>the</strong> nostalgic feeling<br />

<strong>of</strong> childish fun and games,<br />

drawing inspiration from<br />

double entendres and ‘What<br />

<strong>the</strong> Butler Saw’ machines.<br />

Hayley uses wit and fine<br />

detailing to create jewellery<br />

that is playful and just a little<br />

bit naughty. The debut<br />

collection ‘Peeping Tom’<br />

transforms intricate<br />

illustrations <strong>of</strong> animals<br />

and flowers into cheeky<br />

surprises where one might<br />

catch <strong>the</strong> flash <strong>of</strong> a stocking<br />

or a bejewelled nipple!<br />

(right and below)<br />

Hayley Friel<br />

+44 (0)7734 867 649<br />

haylee@oheffie.co.uk<br />

Objects<br />

<strong>of</strong> desire<br />

14 halo halo 15


Short cuts<br />

to creativity<br />

Short courses at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> don’t<br />

simply allow you to improve specific skills,<br />

extend your knowledge in a certain area<br />

or apply your talents to a new field. Some<br />

require students to change <strong>the</strong>ir way<br />

<strong>of</strong> thinking in order to push <strong>the</strong>ir creativity<br />

to new levels, writes Ellie Mathieson.<br />

Trevor Flynn, who runs one-week course Total<br />

Drawing as part <strong>of</strong> <strong>the</strong> Summer School, says his<br />

programme appeals to a real mix <strong>of</strong> people. All have<br />

different motivations for joining. “Sometimes people<br />

come because <strong>the</strong>y anticipate a change <strong>of</strong> career,<br />

sometimes because <strong>the</strong>y’re interested in art and want<br />

first-hand experience <strong>of</strong> drawing. Some people want<br />

<strong>the</strong> chance to produce something visual, ra<strong>the</strong>r than<br />

word-based.”<br />

The opportunity to try something that makes <strong>the</strong>m<br />

think differently can be <strong>the</strong> main appeal for students.<br />

“Drawing is an analytical skill, with lots <strong>of</strong> different<br />

applications. People do <strong>the</strong>se courses for <strong>the</strong> same<br />

reason <strong>the</strong>y do yoga,” says Trevor.“They don’t always<br />

understand <strong>the</strong> benefits until <strong>the</strong>y see <strong>the</strong> impact<br />

in o<strong>the</strong>r areas.”<br />

The course Can’t Draw, Won’t Draw attracts<br />

people lacking confidence in <strong>the</strong>ir drawing skills.<br />

“Some <strong>of</strong> <strong>the</strong>m want to be <strong>the</strong> ones to prove<br />

me wrong, to prove <strong>the</strong>y can’t and won’t draw,”<br />

says course tutor and artist Marcia Kay Ellis,<br />

“but I already know everyone can draw and paint.<br />

I know it, I can see it, and I want to show <strong>the</strong>m how<br />

to recognise it in <strong>the</strong>mselves.”<br />

Drawing <strong>the</strong> Eastern Way,<br />

course run by Gonkar Gyatso,<br />

August 2004<br />

To break down students’ fears about <strong>the</strong>ir own<br />

abilities Marcia suggests drawing is about <strong>the</strong> process<br />

ra<strong>the</strong>r than <strong>the</strong> end result – an approach supported<br />

by <strong>the</strong> course environment. “If <strong>the</strong>y’ve had experience<br />

<strong>of</strong> art it’s usually in a restricted space – here <strong>the</strong>y<br />

can make as much mess as <strong>the</strong>y want.”<br />

Can’t Draw, Won’t Draw changes students’<br />

patterns <strong>of</strong> thinking through a mix <strong>of</strong> traditional<br />

art education and what Marcia calls “getting<br />

<strong>the</strong> students to free <strong>the</strong>mselves”. To break away<br />

from <strong>the</strong> idea <strong>of</strong> ‘perfect’ drawing, Marcia invites<br />

her students to suck a slice <strong>of</strong> lemon and <strong>the</strong>n draw<br />

how it tastes, to smell a scent and draw <strong>the</strong> way<br />

it makes <strong>the</strong>m feel, and to draw a portrait <strong>of</strong> <strong>the</strong><br />

inside <strong>of</strong> <strong>the</strong>ir mouth, not by looking at it, but<br />

by using <strong>the</strong>ir tongue to explore it.<br />

Because <strong>the</strong> students’ preconceptions and ideas<br />

reside in language, Marcia also insists <strong>the</strong>y don’t<br />

say “I can’t” or “I’ll try”, but ra<strong>the</strong>r “I’ll do it”.<br />

On <strong>the</strong> Total Drawing course, Trevor Flynn tries<br />

to get students to use drawing as a means <strong>of</strong> enquiry.<br />

“It’s about <strong>the</strong> way you conceptualise,” he says.<br />

“By <strong>the</strong> end <strong>of</strong> <strong>the</strong> week my students will have<br />

improved hand skills. They should also have learned<br />

how to break down complex procedures into simple<br />

processes. It’s like learning a language – you need<br />

grammar and tenses. The course <strong>of</strong>fers different tools<br />

to break down complex ways <strong>of</strong> seeing things.”<br />

The tools discovered through drawing also have<br />

applications in a business world. Organisations<br />

as diverse as financial institutions, television<br />

companies, architects and luxury goods brands<br />

have all benefited from away-days devised to unleash<br />

<strong>the</strong> creativity <strong>of</strong> <strong>the</strong>ir employees. By introducing<br />

creative activities such as Drawing <strong>the</strong> Eastern Way,<br />

employees accustomed to using <strong>the</strong>ir left brain<br />

at work have <strong>the</strong> opportunity to stimulate <strong>the</strong>ir<br />

more creative right brain resulting in a more<br />

innovative workforce.<br />

These approaches can be challenging. If students<br />

participate fully and willingly, <strong>the</strong> results can<br />

be extremely rewarding. Peta Jacobs, a student<br />

on Can’t Draw, Won’t Draw this summer liked<br />

<strong>the</strong> way <strong>the</strong> course “pushed me forward in a nonintimidating<br />

way”. Peta found <strong>the</strong> exploratory<br />

exercises, such as drawing <strong>the</strong> sensation <strong>of</strong> tasting<br />

a lemon, liberating. “They gave me confidence<br />

and allowed me to make marks without feeling<br />

I had to ‘get it right’. But for <strong>the</strong> people who could<br />

draw a bit already, having to draw <strong>the</strong>ir senses<br />

was quite hard, I suspect – it meant breaking through<br />

a barrier.”<br />

To tailor <strong>the</strong>se and o<strong>the</strong>r courses to your organisation please<br />

contact Steve Whalley, Senior Business Manager,<br />

on s.m.whalley@csm.arts.ac.uk or 020 7514 7256.<br />

Creative paintings by students<br />

Digital Dawn by Loop.pH.<br />

on <strong>the</strong> Drawing <strong>the</strong> Eastern<br />

A reactive window blind with<br />

Way course.<br />

a surface that is in constant flux,<br />

growing in luminosity in response<br />

to <strong>the</strong> surrounding light levels.<br />

Loop.pH are <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong><br />

Research Fellow Rachel Wingfield<br />

and her partner Mathias Gmachl<br />

(see page 13).<br />

16 halo halo 17


The publisher’s tale<br />

<strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> has a flourishing book<br />

packaging business, as Ellie Mathieson discovers.<br />

Andy Haslam, Head <strong>of</strong> Graphic Design<br />

at MA Communication Design, initially came<br />

up with <strong>the</strong> idea for a <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong><br />

publishing venture over ten years ago. “There<br />

was so much expertise in <strong>the</strong> college that I thought<br />

we really ought to develop our own publishing<br />

programme,” he explains.<br />

Dani Salvadori, Head <strong>of</strong> Enterprise<br />

& Innovation agreed, and she found a publisher<br />

in Laurence King Publishing. “The vision was<br />

to create books that were engaging, comprehensive<br />

and intriguing – books which managed to look<br />

nothing like a traditional textbook, but which<br />

none<strong>the</strong>less combined teaching and research.”<br />

The idea came to fruition in <strong>the</strong> Portfolio series,<br />

a range <strong>of</strong> textbooks published by Laurence King,<br />

which now numbers six titles with more from <strong>Central</strong><br />

<strong>Saint</strong> <strong>Martins</strong>’ staff in <strong>the</strong> <strong>of</strong>fing. The first book<br />

to be published in <strong>the</strong> series was Type and Typography,<br />

by Andy Haslam and Phil Baines, with a second,<br />

Fashion Design, written by Sue Jenkyn Jones, now<br />

MA Digital Fashion Course Director at London<br />

College <strong>of</strong> Fashion. Future titles include Editorial<br />

Design, New Media Design, Architecture and Illustration.<br />

Images on this page are taken<br />

from 100 Years <strong>of</strong> Fashon<br />

Illustration by CSM lecturer<br />

Cally Blackman, published<br />

by Laurence King Publishing,<br />

designed by CSM graduate<br />

David Tanguy.<br />

Left David Downton 2004<br />

(front cover)<br />

Grayson Perry, Christian<br />

Lacroix for Spoon, Summer<br />

2005 (page 374)<br />

Bobby Hillson. Original<br />

Illustration <strong>of</strong> <strong>the</strong> Paris<br />

collections for The Observer,<br />

c.1965. Pencil on Paper.<br />

Artist’s Collection (page 222)<br />

Sue found balancing <strong>the</strong> writing <strong>of</strong> Fashion Design<br />

with her academic and teaching work “<strong>the</strong> hardest<br />

part <strong>of</strong> <strong>the</strong> process”. Writing while working at CSM<br />

did have its advantages, though. “When I started<br />

researching and compiling <strong>the</strong> book, scouting<br />

for images and getting sound bites from people,<br />

I was already in <strong>the</strong> best place to do it. A lot more<br />

<strong>of</strong> our academic staff are writing books now.<br />

But back <strong>the</strong>n, when I asked colleagues for quotes<br />

I was regarded with a hint <strong>of</strong> suspicion, I seem<br />

to recall!” Handing in copy to <strong>the</strong> publisher was<br />

ano<strong>the</strong>r new experience for Sue. It was “like going<br />

back to being a student and having someone mark<br />

my work”.<br />

The books have been extremely successful,<br />

becoming standard texts across <strong>the</strong> board, says<br />

Andy. Type and Typography has been hailed<br />

as ‘<strong>the</strong> bible <strong>of</strong> typography’ by <strong>the</strong> American Type<br />

Association, and Fashion Design has found a niche<br />

as a key resource on fashion courses internationally.<br />

As well as being published in Canada, <strong>the</strong> US,<br />

Australia, New Zealand and South Africa, both<br />

volumes have been translated into several languages,<br />

including French, German, Spanish and Portuguese.<br />

The publishing collaboration between CSM<br />

and Laurence King has expanded to include nontextbook<br />

titles such as 100 Years <strong>of</strong> Fashion Illustration<br />

by Cally Blackman, Associate Lecturer in <strong>the</strong> School<br />

<strong>of</strong> Fashion and Textiles, a comprehensive survey<br />

<strong>of</strong> 20th-century fashion illustration, published earlier<br />

this year and compiled, in part, from CSM’s own<br />

archives. Designed by ex-student David Tanguy,<br />

it has been short listed for <strong>the</strong> British Book Design<br />

and Production Awards.<br />

Andy and Sue are both working on new titles<br />

to be published by Laurence King. Sue is writing<br />

a book on digital fashion, and later this year will<br />

begin work on a third edition <strong>of</strong> Fashion Design.<br />

Andy is researching and compiling Lettering and<br />

Process, a record <strong>of</strong> <strong>the</strong> ways in which lettering is<br />

created and reproduced.<br />

So what is it like to see years <strong>of</strong> work<br />

and research in print? For Sue, seeing <strong>the</strong> first edition<br />

<strong>of</strong> Fashion Design was extremely rewarding because<br />

“something that had been invisible had now become<br />

visible. During <strong>the</strong> process <strong>of</strong> writing a book,<br />

you can’t go on about it too much, particularly<br />

if publication is a long way <strong>of</strong>f. To see <strong>the</strong> finished<br />

article at last – I felt <strong>pleasure</strong> and pride, and huge<br />

relief that it was finally real.”<br />

18 halo halo 19


Designs<br />

on <strong>the</strong><br />

good life<br />

Luxury Glenmorangie<br />

decanter designed<br />

by <strong>the</strong> Design Laboratory<br />

Touch. Smell. A sense <strong>of</strong> occasion. There<br />

are many things that make <strong>the</strong> act <strong>of</strong> eating<br />

and drinking special, and not all <strong>of</strong> <strong>the</strong>m<br />

are to do with <strong>the</strong> taste buds, writes<br />

Gaynor Aaltonen.<br />

For some time now, <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>’<br />

Design Laboratory has been developing its expertise<br />

and its research material in <strong>the</strong> area <strong>of</strong> food.<br />

It’s an expanding sector. The UK has a wealth<br />

<strong>of</strong> culinary talent and small businesses from many<br />

cultures just waiting for <strong>the</strong> chance to add to <strong>the</strong><br />

nation’s food heritage. Small London niche food<br />

brands are already treated to Design Laboratory<br />

advice, via workshops on design, branding and<br />

presentation sponsored by <strong>the</strong> London Development<br />

Agency. A Japanese company has brought <strong>the</strong><br />

laboratory in to design not just its Osaka patisserie<br />

and branding, but even <strong>the</strong> look <strong>of</strong> <strong>the</strong> cakes<br />

<strong>the</strong>mselves. But perhaps <strong>the</strong> most exciting projects<br />

<strong>the</strong> laboratory has been involved in recently<br />

are its radical work for top chef and slow food<br />

champion Heston Blumenthal, and an ambitious<br />

new commission from Glenmorangie.<br />

“What really happens on this simple, horizontal<br />

plane called <strong>the</strong> table?” asks Design Laboratory<br />

director Brent Richards. “Not enough is made<br />

<strong>of</strong> that. When you eat at <strong>the</strong> Fat Duck [Blumenthal’s<br />

restaurant at Bray, west <strong>of</strong> London] you want<br />

to explore <strong>the</strong> narrative behind <strong>the</strong> food. In a sense,<br />

you’re entering ano<strong>the</strong>r person’s world.” The<br />

Laboratory’s researches into cognitive science<br />

and sensory design have led Richards to <strong>the</strong><br />

conclusion that <strong>the</strong> ‘eating experience’ has<br />

much more to it, potentially, than restaurateurs<br />

usually allow.<br />

The work for Blumenthal has involved designing<br />

a brand identity, yes. But <strong>the</strong> thinking has delved<br />

deeper than that to encompass <strong>the</strong> design <strong>of</strong> quirky<br />

interior furniture, advice on Blumenthal’s personal<br />

presentation, and <strong>the</strong> development <strong>of</strong> products that<br />

embellish and, says Richards, help ‘articulate’<br />

<strong>the</strong> food. “For instance, Heston is bringing<br />

in specialist teas from China. So we’re working<br />

with him to develop a whole ceremony built around<br />

<strong>the</strong> enjoyment <strong>of</strong> tea.”<br />

In fulfilling <strong>the</strong> brief, Richards and team<br />

have learned a great deal, even to <strong>the</strong> extent<br />

<strong>of</strong> having to develop <strong>the</strong>ir collective ‘nose’. And ‘nose’<br />

is exactly what’s needed to appreciate that most<br />

traditional <strong>of</strong> British ‘heritage’ whisky brands,<br />

Glenmorangie. Ten-years-old Glenmorangie was<br />

once tested by a French perfume house and found<br />

to contain at least 26 separate aromas. The Design<br />

Laboratory was asked to bring its design focus<br />

to bear on <strong>the</strong> ‘Glen <strong>of</strong> Tranquillity’, a literal<br />

translation from <strong>the</strong> Gaelic. The company was<br />

looking for a different kind <strong>of</strong> design consultancy,<br />

and looking, in addition, for new ways <strong>of</strong> tasting<br />

whisky. “We wanted to go back to an imaginative<br />

and sensory experience,” says Nick Marshall, senior<br />

brand manager. “Good whisky has a complex taste,<br />

and my brief to Design Lab was to make tastings<br />

more <strong>the</strong>atrical, a more engaging experience that<br />

people will enjoy talking about afterwards.”<br />

As well as designing furniture and a bar<br />

set that will be used for trade presentations,<br />

<strong>the</strong> Design Laboratory has developed a blind tasting<br />

ritual. Marshall is also very proud <strong>of</strong> a new decanter<br />

and glasses that allow customers to appreciate<br />

<strong>the</strong> full, sensory depth <strong>of</strong> <strong>the</strong> spirit. “The decanter<br />

is like a teardrop that rocks gently on <strong>the</strong> table,<br />

making <strong>the</strong> most <strong>of</strong> <strong>the</strong> aromas. The glass nestles<br />

in your palm. It’s a new way to enjoy whisky –<br />

modern and exquisite.”<br />

Oh, and P.S. – look out for Blumenthal’s<br />

upcoming book, due to be published later this year<br />

by Bloomsbury Press, and designed by <strong>the</strong><br />

Laboratory. Heavily under wraps for now, it will<br />

be a different kind <strong>of</strong> feast – for <strong>the</strong> eyes.<br />

Exterior view <strong>of</strong> <strong>the</strong> fat duck<br />

restaurant. Signage designed<br />

by <strong>the</strong> Design Laboratory<br />

A rose bush centre piece<br />

with edible crystallised<br />

petals. Designed by<br />

<strong>the</strong> Design Laboratory<br />

20 halo halo 21


Talent on tap<br />

Autumn 2007 sees <strong>the</strong> launch <strong>of</strong> CSM<br />

Innovation’s first media spin-out – Fifzine.<br />

Its editor, James Hopkirk, explains <strong>the</strong> thinking<br />

behind <strong>the</strong> venture.<br />

Art schools across <strong>the</strong> UK produce breathtaking<br />

talent every year. But if you’re in business how<br />

do you find <strong>the</strong> time to trawl through <strong>the</strong> enormous<br />

numbers <strong>of</strong> portfolios <strong>of</strong> video, images, text<br />

and audio to find <strong>the</strong> young creative who’s right<br />

for you?<br />

Fifzine.com means that <strong>the</strong> most exciting,<br />

innovative and inspiring new creative talent<br />

in <strong>the</strong> UK can now be found in one place.<br />

It’s <strong>the</strong> ultimate destination if you’re looking<br />

for illustrators, animators, directors, graphic artists,<br />

fashion designers, copywriters, or creatives from<br />

any discipline. Fifzine finally establishes a level<br />

playing field for all, a place where each piece<br />

<strong>of</strong> work is judged on its merits.<br />

For business, that means no more waiting<br />

for job applications to land on your desk – instead<br />

you can actively seek out <strong>the</strong> talent your company<br />

needs. And you can refine your search using a wealth<br />

<strong>of</strong> sophisticated tools to ensure you only see <strong>the</strong> most<br />

relevant content.<br />

Fifzine.com has been developed jointly by CSM<br />

Innovation and <strong>the</strong> Design Laboratory, and has<br />

business angel funding. Working with students from<br />

across <strong>University</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong> London through<br />

<strong>the</strong> student union, Fifzine launches with access<br />

to 33,000 <strong>of</strong> <strong>the</strong> UK’s most talented young creatives,<br />

making it an essential destination from day one. But<br />

it’s not just about students – with so many eyes from<br />

<strong>the</strong> commercial world on one site, no young creative<br />

can afford to be without a Fifzine Portfolio.<br />

So how does it work?<br />

The heart <strong>of</strong> Fifzine is Portfolio, where creatives<br />

store <strong>the</strong>ir best work. With <strong>the</strong> ability to house video,<br />

images, text and audio under one ro<strong>of</strong>, Fifzine<br />

removes <strong>the</strong> need to store work over multiple<br />

websites. As with most web 2.0 sites, pages can<br />

be customised, o<strong>the</strong>r users messaged, feedback left,<br />

and networks and collaborations developed in order<br />

to help users find related content.<br />

Work can be submitted to Fifzine Minutes,<br />

an area <strong>of</strong> <strong>the</strong> site ruled by <strong>the</strong> Fifzine Clock, where<br />

content lives and dies by public vote. This gives<br />

users a simple way to keep abreast <strong>of</strong> what’s getting<br />

people clicking.<br />

Fifzine also <strong>of</strong>fers a weekly online digest<br />

<strong>of</strong> <strong>the</strong> best <strong>of</strong> <strong>the</strong> site – Fifzine Magazine. Produced<br />

by our editorial team, every issue brings you<br />

interviews, previews, reviews, pr<strong>of</strong>iles and an editor’s<br />

blog that champions <strong>the</strong> talent on Fifzine. And this<br />

is where you’ll find our forums – where users<br />

can meet, collaborate, do business and let <strong>of</strong>f steam.<br />

You can also sign up for an email newsletter that<br />

delivers <strong>the</strong> week’s headlines straight to your inbox.<br />

Fifzine is online now at www.fifzine.com.<br />

An example <strong>of</strong> <strong>the</strong> Fifzine.com<br />

creative networking<br />

homepage<br />

The fine art <strong>of</strong> innovation<br />

<strong>University</strong> <strong>of</strong> <strong>the</strong> <strong>Arts</strong> fine art graduates<br />

<strong>of</strong> <strong>the</strong> last 70 years are focus <strong>of</strong> a research<br />

project at CSM Innovation exploring<br />

<strong>the</strong> impact <strong>of</strong> fine artists on <strong>the</strong> UK economy,<br />

writes Barry Hunter.<br />

Have our artists become part <strong>of</strong> <strong>the</strong> wider world<br />

<strong>of</strong> design, manufacturing and service industry?<br />

If so, what contribution do <strong>the</strong>y make to innovation?<br />

How do fine artists see innovation compared<br />

to policy makers? Is <strong>the</strong>re a gap here, waiting<br />

to be closed?<br />

By surveying fine artists on <strong>the</strong> <strong>University</strong><br />

<strong>of</strong> <strong>the</strong> <strong>Arts</strong> London alumni database, <strong>the</strong> NESTAfunded<br />

study aims to describe for <strong>the</strong> first time<br />

how innovation in <strong>the</strong> arts contributes to innovation<br />

in <strong>the</strong> wider economy.<br />

“The project’s significance,” says principal<br />

investigator Kate Oakley, “is in getting close<br />

to a large cohort <strong>of</strong> artists whose stories are viewed<br />

over a considerable and sustained period. This<br />

is our chance to take a genuinely historical view<br />

<strong>of</strong> what’s happened to artists over decades.”<br />

Adds project advisor Andy Pratt, reader<br />

in Urban Cultural Economy and Director<br />

<strong>of</strong> <strong>the</strong> Urban Research Centre, LSE: “There’s<br />

a migration taking place from fine art to o<strong>the</strong>r<br />

‘design important’ fields. If artists today are <strong>of</strong>ten<br />

mediators between roles and traditions, what<br />

is it about <strong>the</strong>m that makes innovation happen<br />

or happen differently?”<br />

Bridging <strong>the</strong> evidence gap<br />

During its key second phase <strong>of</strong> in-depth interviews,<br />

<strong>the</strong> project will illuminate what artists mean<br />

by innovation with a view to influencing <strong>the</strong> policymaking<br />

agenda on behalf <strong>of</strong> <strong>the</strong> cultural economy.<br />

“We want to know what value society derives<br />

from a vibrant creative sector,” says NESTA senior<br />

policy analyst Hasan Bakhshi. “Everyone talks about<br />

a spillover effect, but <strong>the</strong> evidence gap has got<br />

to be bridged. Yes, it’s inherently difficult to extract<br />

<strong>the</strong>mes from experience that is essentially individual.<br />

But if we don’t take risks, policy makers will continue<br />

to have a flawed view <strong>of</strong> why artists should<br />

be encouraged.”<br />

Stephen Beddoe at Artquest, support agency<br />

for London’s 28,000 practising artists, agrees: “Artists<br />

do innovative things every day, but <strong>the</strong>y wouldn’t<br />

necessarily see it that way. This is a fantastic<br />

opportunity to explain <strong>the</strong> nuances <strong>of</strong> being a fine<br />

artist. Let’s help policy makers take proper account<br />

<strong>of</strong> artists and what <strong>the</strong>y do.”<br />

For Dani Salvadori, project manager and Head<br />

<strong>of</strong> Enterprise & Innovation at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>,<br />

<strong>the</strong> research has a fur<strong>the</strong>r dimension that brings<br />

its enquiries full circle. “Our dissemination plan<br />

maximises <strong>the</strong> project’s impact on curriculum<br />

as well as policy development. Teaching and learning<br />

in <strong>the</strong> enterprise area are increasingly <strong>the</strong> focus<br />

<strong>of</strong> funding here, and this study will get every chance<br />

to influence curriculum.”<br />

<strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> BA Fine<br />

Art graduate Rui Matsunaga<br />

in her college studio. Image<br />

by Andrew Watson © <strong>Central</strong><br />

<strong>Saint</strong> <strong>Martins</strong><br />

22 halo halo 23


When life’s a journey<br />

Quentin Mackay says his three years<br />

at <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> were among<br />

<strong>the</strong> best <strong>of</strong> his life. With <strong>the</strong> luggage sector<br />

moving down <strong>the</strong> haute couture fast lane,<br />

it’s only logical that <strong>the</strong> creative force behind<br />

Samsonite should be from an art school,<br />

suggests Gaynor Aaltonen.<br />

Adopting <strong>the</strong> phrase ‘life is a journey’,<br />

<strong>the</strong> company is expanding its reach, developing<br />

product ranges beyond its conventional sphere.<br />

Mackay is making Samsonite exciting to styleleaders,<br />

and attracting customers willing to pay<br />

top dollar for a carry-on bag, particularly through<br />

<strong>the</strong> Samsonite Black Label collection.<br />

At a crucial stage in its development, Samsonite<br />

has joined forces with <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>,<br />

challenging students to design an accessory under<br />

<strong>the</strong> competition heading ‘Future Travel’.<br />

“Everybody has a different view <strong>of</strong> travel,”<br />

says Quentin. “That’s what’s enjoyable about<br />

working in this sector. It’s changing all <strong>the</strong> time,<br />

and Samsonite wants to respond to that. Students<br />

have open minds, <strong>the</strong> minds <strong>of</strong> tomorrow.”<br />

Everyone’s a winner<br />

Samsonite was rewarded with around 20 new<br />

design concepts – instinctive, commercial, brave<br />

and thought-provoking. This breadth and depth<br />

<strong>of</strong> ideas is a key advantage <strong>of</strong> working with<br />

<strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>.<br />

Explains Quentin: “Students will <strong>of</strong>ten identify<br />

important conceptual routes. They may not<br />

be production-ready, but <strong>the</strong>y can <strong>the</strong>n be taken<br />

fur<strong>the</strong>r by pr<strong>of</strong>essional design studios.”<br />

Frederick Samuelsson’s high-fashion expandable<br />

lea<strong>the</strong>r bag (<strong>the</strong> competition winner) is a response<br />

to today’s increasingly hectic lifestyles. “This is a bag<br />

for people who don’t have time to go home after<br />

work to collect <strong>the</strong>ir gym clo<strong>the</strong>s, or to change before<br />

a night on <strong>the</strong> town. It’s pleated, and unfolds easily,<br />

adjusting to <strong>the</strong> size you need. For an ordinary<br />

day, it just stays folded. It’s very tactile, and made<br />

<strong>of</strong> beautifully s<strong>of</strong>t lea<strong>the</strong>r.”<br />

Samant Khanna’s ‘Couples’ relieves <strong>the</strong> newlywed<br />

husband struggling with honeymoon luggage<br />

for himself and his bride. The case features two<br />

compartments – one each. They can be separated<br />

to work as two independent pieces – for example<br />

during packing and unpacking. An interesting<br />

The winning design: Fredrik<br />

Samuelsson’s pleated lea<strong>the</strong>r<br />

bag can be adjusted in size to<br />

suit <strong>the</strong> varying needs <strong>of</strong> <strong>the</strong><br />

busy city dweller, <strong>the</strong> pleats<br />

fasten with stylish studs<br />

feature is <strong>the</strong> way that clo<strong>the</strong>s can be stacked<br />

vertically. Samant also envisages much better<br />

security measures for <strong>the</strong> luggage <strong>of</strong> <strong>the</strong><br />

future, including digital keypad locking<br />

and fingerprint scanning.<br />

Myung Seo Kang and Yeon-Joo Koo,<br />

meanwhile, concentrated on streamlining<br />

<strong>the</strong> stresses in <strong>the</strong> life <strong>of</strong> <strong>the</strong> frequent short-haul<br />

business flyer. Suitcase, loose change, laptop, tickets,<br />

business documents, shoes – it’s <strong>of</strong>ten a case<br />

<strong>of</strong> struggling with several bags and items before<br />

check-in. “Our suitcase and laptop bag became<br />

one piece <strong>of</strong> luggage,” explains Yeon-Joo. “But<br />

<strong>the</strong> design makes it very comfortable to separate<br />

your requirements. You can rest your laptop<br />

on <strong>the</strong> case.”<br />

The Future Traveller<br />

It’s only right that Samsonite, once famed for<br />

its indestructible, hard-sided suitcases, should throw<br />

away <strong>the</strong> travel rulebook and journey into space.<br />

Indeed, <strong>the</strong> company is already thinking about<br />

collections for <strong>the</strong> space traveller. Product design<br />

student Jonathan Hough’s pebble-like ‘Capsule<br />

One’ is essentially a modular toiletries container<br />

that defies zero gravity and uses nano-electrode<br />

magnets to link <strong>the</strong> pack to <strong>the</strong> user’s body.<br />

No more losing your razor, or slipping on your<br />

soap, in <strong>the</strong> weightless zone. “Space flight is going<br />

to be huge – give it two years,” Jonathan says. Adds<br />

tutor Paul Sayers: “Yes, space travel is on <strong>the</strong><br />

agenda. When you work as part <strong>of</strong> a pr<strong>of</strong>essional<br />

studio it can be easy to push <strong>the</strong> future<br />

subconsciously to one side in order to focus<br />

on immediate, tangible priorities. But at <strong>Central</strong><br />

<strong>Saint</strong> <strong>Martins</strong> we have <strong>the</strong> freedom to explore<br />

this kind <strong>of</strong> concept, backed up by Samsonite’s<br />

particular interest in <strong>the</strong> area.<br />

All <strong>the</strong> students in this competition began<br />

by identifying a future traveller <strong>of</strong> <strong>the</strong>ir choice,<br />

<strong>the</strong>ir designs responding to <strong>the</strong> specific needs <strong>of</strong> that<br />

traveller. While <strong>the</strong> business traveller, honeymooner,<br />

city dweller and space traveller may have vastly<br />

different requirements, <strong>the</strong> designs have one thing<br />

in common – <strong>the</strong>y’re all geared to making travel<br />

a <strong>pleasure</strong>.They reduce stress and confusion during<br />

travel, add something to <strong>the</strong> travel experience over<br />

and above <strong>the</strong> transport <strong>of</strong> personal belongings,<br />

and enable <strong>the</strong>ir owners to reach <strong>the</strong>ir destination<br />

with everything <strong>the</strong>y need – including peace<br />

<strong>of</strong> mind.<br />

The journey continues<br />

This project has been an exciting step<br />

in <strong>the</strong> students’ own journeys on <strong>the</strong> road to design<br />

success. The five short-listed designers have been<br />

<strong>of</strong>fered placements at Samsonite. As <strong>the</strong> future<br />

traveller becomes today’s traveller, <strong>the</strong>se students<br />

are well placed to ensure that travel accessories<br />

become increasingly satisfying in terms <strong>of</strong> form<br />

and function.<br />

Samant Khanna with<br />

his ‘Couples’ concept<br />

– two separate but<br />

interlocking cases<br />

for <strong>the</strong> bride and groom<br />

24 halo halo 25


© Richard Dabell<br />

Facilities<br />

for Innovation<br />

<strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> Innovation has creativity<br />

at <strong>the</strong> heart <strong>of</strong> what it does and <strong>of</strong>fers<br />

a stimulating environment for your next event.<br />

We have a range <strong>of</strong> spaces in central London<br />

suitable for workshops, private receptions, exhibitions<br />

and conferences.<br />

Our contemporary, innovative space houses<br />

a range <strong>of</strong> conference facilities including an<br />

exhibition gallery, a conference room with break-<br />

out areas and an ideas room with technical facilities<br />

including interactive whiteboards.<br />

26 halo<br />

Innovation Gallery<br />

This inspiring space with high ceilings provides<br />

a stunning backdrop for exhibitions or private events<br />

for up to 100 guests.<br />

Conference Room<br />

A versatile space that can be used for conferences,<br />

seminars or boardroom style meetings. Fitted with<br />

audio-visual facilities it can be split into two rooms<br />

for smaller events. This room can cater for 70 people<br />

<strong>the</strong>atre style or 30 boardroom style.<br />

Meeting Room<br />

This glass-fronted room provides a bright airy<br />

atmosphere and is perfect for both formal meetings<br />

and brainstorming sessions for up to 12 people.<br />

Ideas Room<br />

Perfect for brainstorming sessions <strong>the</strong> Ideas Room<br />

has an interactive whiteboard, conventional<br />

whiteboard and flip charts. And, most importantly,<br />

space away from <strong>the</strong> <strong>of</strong>fice to let creative juices flow<br />

To view <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong> Innovation or discuss<br />

your venue requirements please contact Fiona Fraser,<br />

Enterprise and Innovation Administrator<br />

Tel: +44 (0)20 7514 8469<br />

Email: f.fraser@csm.arts.ac.uk<br />

<strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong><br />

Innovation’s Meeting Room<br />

Contact us<br />

Head <strong>of</strong> enterprise and innovation<br />

Dani Salvadori<br />

Email: d.salvadori@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 7255<br />

Student projects and events sponsorship<br />

Ellie Mathieson (Enterprise & Innovation<br />

Project Manager)<br />

Email: e.mathieson@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 7008<br />

Consultancy, design commissions<br />

and pr<strong>of</strong>essional training<br />

Steve Whalley (Business Manager)<br />

Email: s.m.whalley@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 7256<br />

Research and innovation<br />

Monica Hundal (Business Development Manager)<br />

Email: m.hundal@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 8716<br />

Student and graduate businesses<br />

Tim Hoar (Business Development Manager)<br />

Email: t.hoar@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 8471<br />

The design laboratory<br />

Email: info@designlaboratory.co.uk<br />

Tel: +44 (0)20 7514 7028<br />

Venue hire<br />

Fiona Fraser (Enterprise and<br />

Innovation Administrator)<br />

Email: f.fraser@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 8469<br />

Short courses and <strong>the</strong> summer school<br />

Email: shortcourse@csm.arts.ac.uk<br />

Tel: +44 (0)20 7514 7015<br />

Do you have any questions or comments<br />

to <strong>the</strong> team behind halo magazine?<br />

Feedback is gratefully received.<br />

Email: halo@csm.arts.ac.uk<br />

Editorial Team<br />

Editor: Dani Salvadori<br />

Gaynor Aaltonen<br />

Liz Adams<br />

Barry Hunter<br />

Lesley Anne Law<br />

Ellie Mathieson<br />

Design<br />

Praline<br />

Exterior view <strong>of</strong> <strong>Central</strong> <strong>Saint</strong><br />

<strong>Martins</strong> Innovation at night<br />

by James Brittain, featuring<br />

LED lighting donated by Philips<br />

designbypraline.com All images courtesy <strong>of</strong> <strong>the</strong> staff, students and corporate clients <strong>of</strong> <strong>Central</strong> <strong>Saint</strong> <strong>Martins</strong>.

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