Francesca Milano

Article for my column #HelloLondon for Nssmag (also in ITA), 27 April 2016

We're in Vauxhall, a south-London district that's stealing the show to the more famous – and quite overrated – Hackney, thanks to its lively artistic and cultural panorama, that even persuaded Hirst to open here his own gallery and earned it the nickname ‘Voho'.

Beaconsfield Gallery is a typical Victorian brick building, a laboratory located in the former girls' lavatories of Lambeth Ragged School since’95, where the atmosphere is that in-between an underground club and a niche gallery.

Here FOAM Talent 2016, an initiative that every year selects a bunch of newcomers reshaping the future of visual arts, is currently held.

We've attended the opening of the exhibition and, notebook in one hand and beer in the other, we managed between the art pieces and the Dj set in order to bring you the most exciting artists we spotted.

David Favrod – Hiraki, 2012-2015

With Hiraki (“the light”), Favrod starts from the “memories and stories of the Second World War in Japan, as told to me by my Japanese grandparents”, making them pivotal in his own “search for identity”. Here’s what he told us about his project.

On the inspiration behind the series: “This work represents my compulsion to build and shape my own memory. To reconstitute some facts I haven't experienced myself, but have unconsciously influenced me while growing up. My grandparents witnessed the war; survivors who finally passed away and whose memories will soon be a part of history. They told me how illness can take away your sisters, the shame, the relief after the war, and the watermelons… But after that night, we never talked about it again. As if my grandparents gave me their memories as a whisper through the air before allowing it to disappear from their minds. Somehow, I would say that I borrowed their memories. I use their stories as source of inspiration for my own testimony.”

On his creative process: “Before taking any picture I write the general idea and I start to draw the images on my sketchbook. That allows me to construct the series and to see if there are too many landscapes, enough portrait or still life and to have a balance in the series”

Sara Cwynar – Flat Death, 2013-2014

The Canadian artist has an everlasting fascination with the aesthetic from the 60s and 70s that she likes to interpolate within the current context: that of a society dominated by the Internet, in which the concept of the image irretrievably rhymes with those of repetition and sharing. Cwynar is an obsessive collector of images, that she gets from glossy fashion magazines, books, and encyclopedias. She scans them and then she completely twists them, using both analog and digital manipulation. The results are kitsch, surreal images with a retro-modern taste.

Dominic Hawgood – Under the Influence, 2014

English photographer Hawgood describes himself as a versatile artist who likes to experiment with different media: photography, CGI, lighting design and installation. His work is marked by a keen interest in combining “states of mind and technology” and “plays with the impossibility of recreating emotion and feeling.” We asked him a bit more about his work.

On the inspiration behind the series: “Under the Influence casts an eye over the merchandising of modern faith, and looks towards the abundance of African churches in London for inspiration. I was intrigued by the commodification of water and the use of deliverance, and first hand experience of watching exorcisms led me to produce a project around the subject. Such was the theatricality of services, I found myself questioning their authenticity, and so I set about creating a series that communicated a sense of ambiguity at every level. I never released any information about the work, and the project exists cross-platform…as architectural renders, light installation, CGI, moving image, text, photographs.”

On his creative process: “Is changing and evolving continuously. I’m about to release a new series Casting out the self, and that will showcase 3d scanning work that’s pushing further into animation, includes new photographic processes, and a digital and sound collaboration.”

Article for my column #HelloLondon for NssMag (also in ITA), 20th April ‘16

After the fake art exhibition held to present her AW16 collection, 25-year-old British designer Claire Barrow disrupts the lines between art and fashion once again and this time is ready to get steady.

Open to the public until the 24th of April at M. Goldstein Gallery in Hackney, London, The Bed, The Bath and The Beyond is Claire Barrow’s first solo exhibition. With reference to a famous American chain of domestic merchandise, the artist winks at social criticism by pointing at consumerism permeating every inch of today’s society and, at the same time, she brings us her own idea of a twisted return to clarity.

The themes explored throughout the exhibition are in fact those of“cleanliness and godliness”. In what the artist herself has described as an “inner journey discovering her own mortality”, even a common and daily ritual as that of taking a shower comes to assume a mystical significance of baptism and purification.

The aesthetic is the same Claire Barrow's work always stands out for: a surreal juxtaposition of naïve and demonic characters, floating as in a Chagall painting and as archetypal as primitive/prehistoric art.

Her dystopic reality, this time, finds a way through toilet rolls, shower curtains and neon signs. The latter, a material typically associated with mundanity, red light districts and packed metropolis' centres, is freed by any stigma and rises as an emblem of purity and brightness. Barrow finds in neon that vibrant spirit that can bring to life the phantasmagorical presences populating her imagery.

Article for Bricks Magazine, 11th April ‘16

Head of fourth wave feminism Petra Collins has put together a new series of vivid portrays to help young women to deal with their deepest and most controversial emotions.

With a recent show-stopping appearance on Gucci’s catwalk among her latest achievements, Petra Collins is possibly one of the most influential female artists of the moment. Her work embraces diversity of girlhood and coming of age, depicting women intimately and honestly has put her at the forefront of forth wave feminism. The Canadian artist, also well-known for having shot some of the most interesting young women of our time (like her friend Rookie editor Tavi Gevinson), has chosen mental health as the theme for her brand new project, 24 Hour Psycho, currently being shown in a solo exhibition held at Ever Gold [Projects] gallery, in San Francisco, running until April 30. This new series comprises a selection of intimate portraits of ten girls in moments of emotional distress. Shot on 35mm, the subjects are illuminated in Collins trademark hues which focus on the subjects’ teary eyes. Blown up and slightly faded, the portraits are soft yet brutally powerful.

“These aren’t negative emotions, they are just part of the scope of emotions we should be allowed to feel.”

The projects aim is to celebrate the multiple facets of a girl’s mind, like sadness, anxiety and the constant battle within oneself: all complex feelings that every human experiences. Although according to Collins they are feelings that are particularly hard for a woman to show without being labeled as a psychopath. “Any slight deviation from ‘pleasantness’, and we are labeled as hysterical. When we are angry, sad, depressed, or manic, we are immediately seen as unfeminine, or ugly, or weak” she stated. The photographer explained that she wanted to reassure young women on the fact that showing vulnerability and distress is okay. The project came from direct experience with depression, a condition that even her mother has experienced way before her. “She grew up bipolar, but it was never diagnosed nor recognised. It was shrugged off like a ‘symptom’ of being female – of her being weak. I also experienced this growing up: I felt that the great pain I experienced was a dramatisation” she told in a interview to Dazed. Inspired then by a ’24hr Psychic’ neon sign she randomly saw, Collins translated her personal feelings into this extremely intense, colourful and intimate series of images, bringing self-acceptance a step further and showing that sadness doesn’t have to necessarily be a synonym of weakness, it can be a strength.

24 Hour Psycho is on show at Ever Gold [Projects] gallery until April 30

Article for The Metropolist, 29th February ‘16

The international audiences all tuned into one channel, the red carpet awash with designer gowns and fine jewellery worth a small country’s GDP, the limelight, the glitter: we’re obviously talking the Oscars, the most glamorous and talked about event of the award season.

And even though the 88th Academy Awards might have been talked about for all the wrong reasons (#OscarsSoWhite, anyone?), we’ve put that aside to focus on the stars and their outfits for the night. After all, that’s what it’s really about. Let’s not pretend otherwise. Movies and drama will fade in our memories – who remembers the Best Movie winner from 2012? No one? Thought so. But we all remember Angelina and her show-stealing leg.

And that’s the essence of Oscars. Many things might have changed since the first Academy Awards were held in 1929, at the embryonic phase of Hollywood’s Golden Age. First of all, the ceremony honoured the achievements in the cinema industry during the previous two years (1927-28) and it was only 15 minutes long, nothing compared to the three hours and a half of nowadays majestic show. But style and glamour were always part of the equation. Ok, maybe back then stars had no army of stylists at their disposal to prep the red carpet looks months in advance, and had to – shocker – simply dress themselves, but that didn’t stop them from looking equally iconic as their modern day counterparts.

We’ve already reported on last night’s fashion wins and fails, so let’s travel back in time some more and look at the most memorable Oscars style moments from the big studio era:

article for The Upcoming, 4th February ‘16

GUCCI

Looks like Children of Bahnhof Zoo will be wearing Gucci next season. Shot by Glen Lunchford in Berlin, the new Gucci campaign is a captivating throwback to the German 80s pop culture, revisited of course in pure Alessandro Michele style. The video ad that came out earlier this year shows many references to the cult movie Christiane F, first of all the epic scene in which the protagonist and her heroin addict friends run from the police in the corridors of the Europa Center – hunted by Bowie’s voice in the background – and they end up on a rooftop at dawn just watching Berlin’s skyline. Michele’s kids might be all glittery and fashionable, but the idea behind the collection lies in that same “carefree and hedonistic” feeling embodied in a nostalgic context.

VALENTINO

For spring/summer 2016, Valentino directors Chiuri and Piccioli have forged a collection that has already been marked as controversial. Accused of cultural appropriation, the collection brought an ode to “wild, tribal Africa” on the catwalk, with models showcasing dreadlocks and wearing fringing, bone necklaces, feathers, beaded belts and ethnic motifs. Far from wanting to reduce the spirit of Africa to a mere stereotype, as they were accused of, the duo described the clothes as “primitive, tribal, spiritual, yet regal” on Twitter, and the collection as a “journey to the beginning of time and the essential of primitive nature”.

The campaign was shot in a Masai Village in Kenya’s Amboseli National Park by the National Geographic photographer Steve McCurry, who commented, “The idea of these pictures is to take the viewer on a journey. The clothes were inspired by African motifs, [so] to take the shoot to Africa and show how these things interact and, this connection of the clothes, the models, the environment, the local people; I thought it was a great endeavor.”

article for The Upcoming, 30th October ‘15

So it seems the spring/summer 2016 collection, presented in Paris last month, will be the last Raf Simons designs for French fashion house Dior. After three and a half years as artistic director, Simons is leaving the role and we must confess we didn’t see this one coming.

The news was confirmed a few days ago in a statement by Dior’s CEO Sidney Toledano, when he also thanked the Belgian designer “very warmly” for his “exceptional contribution to the house”.

Before taking on the role at Dior, Simons was a menswear designer and creative director at Jil Sander, a modern and minimalistic label. Many were diffident when he was appointed at such a well-established and traditional luxury brand as Dior, but Simons soon convinced everybody. He has been able to bring a breeze of change and modernism to the label, while respecting some of the codes that were more sacred to the house, like the iconic silhouette, its femininity and extravagance.

article for The Upcoming, 20th September ‘15

Where would we be without technology? In what kind of world could we live? With these existential questions in her mind, British designer and ex Central Saint Martins student Claire Barrow showcased her spring/summer collection, Broken Machines, at the Institute of Contemporary Arts. Inspired by our subconscious and our increasing addiction to technology, Barrow portrayed her own dystopian modern reality.

In a gloomy dark set where the concept of underground subculture was brought to life, Claire Barrow’s phantom orchestra was playing instruments made out of random pieces of metal, while real musicians gave us a creepy yet beautiful saxophone and piano soundtrack accompanied by metallic resonators and synthesizers.

The presentation was vast, with 30 models brought together – some sitting, some standing, some lying down while playing their instrument – all pretty much staring into space, absent. A lot of skin was shown; some models wearing only painted leather high-waisted panties, or a suit with nothing underneath. There were feminine silk dresses, some glamorous and flounced, others more plain and undone. Further looks channeling heroin chic included stretched painted leggings and bodysuits, heavy leather and denim, and even a couple of mid season coats. Attention to detail and accessories have always characterised Barrow’s work and this time she opted for hand-knitted wire jewelry and, of course, her typical knee-high printed stockings.

Barrow’s signature illustrations where everywhere, this time as a twisted version of a Marc Chagall painting, featuring floating spirits and musical instruments, in a colour palette of grey, black, lilac, blue and green to help accentuate the feeling of a bitter-sweet nightmare.

article for The Upcoming, 16th September ‘15

London Fashion Week runs from Friday 18th September - Tuesday 22nd September and this season there is a big change: it’s moving from Somerset House to Brewer Street Car Park in Soho. Here we aim to offer you a guide of the most interesting shows and presentations, to help you discover the most exciting and upcoming brands.

FRIDAY 18th SEPTEMBER

12:00 Felder Felder – Created in 2006 by German-born twins Annette and Daniela Felder while they still were students at Central Saint Martins, this brand has immediately identified with a feminine rock’n’roll aesthetic. Always sensual and bold, the label is embraced by singers and actresses such as Rihanna, Gwyneth Paltrow and Florence Welch. Last season, following the 70s trend, these super blonde sisters showcased a collection marked by a lot of see-through organza, metallic disco flares and oversized red and emerald faux furs.

15:30-17:30 Molly Goddard (presentation) – This young designer from west London and ex fashion knit student at CSM creates pure magic with her hands. She presented her first collection last A/W at Somerset House and the set recreated for the presentation was that of an art class. The models, who were chatting and painting, wore beautifully made ethereal tulle skirts with a clumsy silhouette and wool sweaters. Goddard created a distinctive aesthetic for her label: soft, fragile and kind of undone at the same time, standing between new Bohemia and a melancholic coming of age.

17:00 Fyodor Golan – The dynamic duo composed by designers Fyodor Podgorny and Golan Frydman, conquered every fashionista’s heart with their playful imagery, made of childish references and bright colour blocking. Mixing geometrical shapes and sport lux with the innovative use of technology, last season they proposed a My Little Pony inspired psychedelic collection with unique textiles and 3D embroidery.

article for The Upcoming, 29th July ‘15

A week after the death of Elio Fiorucci, we look back at the career highs of a designer who first defined the concept of democratic fashion and draw a retrospective of a man who should not be forgotten.

Elio Fiorucci, born in Milan in 1935, started his career by following in his father’s footsteps and working in the family’s slipper shop. But it was clear his brilliant personality couldn’t remain limited to that any longer; Fiorucci was first of all an intelligent tradesman, as he often remarked himself, and understood he needed to add something more to his life in order to really stand out.

After a trip to London, he remained completely fascinated by the swinging atmosphere of the 60s, from the markets in Camden and Portobello, where you could always discover emerging designers and underground artists. He decided to bring a bit of that freshness and open-minded retail attitude to Italy, which has always been dominated, instead, by quite a claustrophobic attachment to tradition and old schemes.

article for The Upcoming, 26th June ‘15

Even though Alessandro Michele’s reign at Gucci is only at the beginning, the once accessory designer has already taken a few opportunities to strongly show his determination into taking the fashion house a step forward.

Former helmer Frida Giannini’s glossy, poshly static campaigns, marked by the constant use of a soulless studio setting, totally belong to the past. Michele’s first campaign for pre-fall 2015 picked up a contemporary and melancholic concept: the idea of beginning “anywhere and everywhere at the same time”, which is not just to be applied to the location (Los Angeles which could be pretty much be any other city), but also to a strong feeling of independence and freedom from ready-made social schemes.

Shot by Glen Luchford, the campaign shows Michele’s new bohemians going around an anonymous city in their disheveled but extremely tidy looks made of pussy-bow blouses and ruffled dresses, carrying their romantic vintage halo even in the most ordinary and less glamorous situations, such as sitting on the bus.

article for The Upcoming, 15th June ‘15

Bobby Abley knows how to get to people’s hearts: presenting a Star Wars-themed collection, there was no way he could go wrong. The crowd populating Victoria House this early afternoon was totally on fire as the different looks hit the runway one by one.

The designer is well-known for getting much of his inspiration from his childhood and in the year of the saga’s big return on screens, Star Warshad no rivals.

The spring/summer 2016 collection is street and fun, in perfect Abley-style, and of course his signature teddy bear figure doesn’t miss.

Abley’s hip-retro-futuristic man wore fluffy tops with Chubecca’s face on, as well as Stormtrooper and Darth Vader ones. Tulle basket pants over leggings were shown alongside crop tops with star and spaceship prints; the “super duper Stormtrooper” gang was present, with golden chains and glittery sporty trousers.

Particular attention is also given to the accessories, such as the camouflage helmet-shaped bags, shiny silver Darth Vader mouthpiece and the spaceship backpack.

The designer also embraced the gender neutral trend; the most applauded moment was, in fact, when “Princess Slayer” dressed in all-white, entered the scene for the grand finale.

Come to the dark side, we have glitter.

article for The Upcoming, 15th June ‘15

The invitation to Xander Zhou’s spring/summer 2016 show at the Old Sorting Office sounded more like a literal invite to try to interpret its own world, with the question: “What do you think my world looks like?” handwritten on the front. And Zhou actually respected his declaration of intention.

We saw him exploring different cultures and lifestyles in previous seasons, from the sexual disobedience of teenagers to the Wild West; with this collection Zhou wanted to show a bit more of himself and his origins, taking inspiration from his native China.

Everything, of course, is within his vision of fashion as “an international language”, where all the references to his “Chineseness” are yes, a crucial part of his identity as an artist but not the only thing to define his work. The result is a perfect and interesting mix of the semeiotics of Asian culture with contemporary silhouettes characterised by loose tailoring.

An army of clear-cut origami-looking shirts and jackets hit the runway, with squared pockets often embellished with typical Asian prints as well as military insignia pockets in red and black. Thick black leather was a recurring material, used both for shirts and trousers; striped silk bottoms were embellished with prayer ribbons and minimalistic worker jumpsuits also made an appearance. The yin and yang symbol not only gave a rounded shape to bags but was also sewn on short-sleeved shirts.

The most fascinating looks, though, were those characterised by the use of Chinese jacquard print. Tops with stereotypical dragon images were matched with long thin silk scarves, and foulard tops were worn with silk trousers in the same print. The colour palette varied from the clear contrast created by white, black and red, to shinier, vivid coloured prints, as well as a few pastel looks.

article for The Upcoming, 12th June ‘15

Alex Mullins was throwing a foam party last night so how could we miss it?

The first impression was that a paintbox exploded in the room just a second before everything started. Forget the earthy vibes which dominated the autumn/winter collection, because for next season Mullins takes a step back into colour smash.

The washed denim jackets and cotton kimonos were covered with random splatters of paint and sprayed graffiti taking inspiration from childhood paintings. In this collection Mullins proposes an androgynous silhouette, with below-the-knee wrap-over skirts, long denim shirts and multi-pocket trousers.

The leitmotiv is a stoned rabbit which recurs on rusty painted jackets and white T-shirts, as well as massive clouds in random acid colors and vivid blue stripes painted along the seams which break pristine total white looks.

The atmosphere was relaxed and playful, models were lustfully leaning on foam bean-bags and chatting at the sound of an up-beat but chilled house soundtrack and everything, from their attitude to their long messed-up hair, made us think of a hangover kind of morning.

Alex Mullins, graduated from Central Saint Martins and has an MA from the Royal College of Arts, and has already worked with well-known designers such as Diane von Furstenberg and Alexander McQueen. Even though he is only on his fifth collection he has already made a name for himself in the fashion industry; his style marked by a constant play with shapes and proportions.