Nicole Mullen

Once inside, you are often greeted by Owner, Abbie Atkinson, a warm and generous character. As well as Violets, Abbie is Co-Owner of House of Tides (a Michelin-starred restaurant, no less) alongside her husband, Kenny Atkinson. Kenny, too, can be seen popping in every now and then. It is clear that the pairing are passionate about the success of the cafe: why have one roaring success when you can have two?

As expected, the menus are beautiful. Emblazoned with that same, water-coloured logo, there are three separate cards to peruse. Abbie's ever-changing daily bakes are displayed on cute shelves at the front of the cafe. On both of my visits (certainly, more to come!), I have been enticed by the fresh and citrusy lemon tarts. Other concoctions you might expect to find are brownies, blondies, and a variety of sponge cakes and tray bakes.

As well as tempting treats, there is a selection of light lunches and savoury bakes. For me, I cannot recommend highly enough the cheese scones. Freshly baked, and with a quintessential crumbly texture, these are served with a gorgeously sweet caramelised onion chutney, and lashings of butter. So. Good.

The cafe itself has a relaxed, serene atmosphere, despite its popularity. Service is efficient, and always with a smile; tables are well-dispersed and plentiful, and the decor is absolutely to-die-for. The only downside, for me, is the opening hours. Closing at 3:30pm, there has been many a time when I have strolled past only to find that Violets is closed. It was only upon contacting the cafe via Instagram that I learned of the rather short opening times. Abbie does, however, have plans to extend opening hours, so do watch this space.

This is a sentiment reflected, too, by Patrick Quilliam, Co-Founder of Quilliam Brothers Teahouse. As a child, Patrick became accustomed to his parents' ritual of drinking a cup of tea in the morning. "I remember as a child wanting to drink a cup, not because I liked the taste of it, but because I wanted to emulate my parents," he explains. "Once I started drinking tea, the inclusive ritual [of preparing it] became an appeal as well."

"I ABSOLUTELY LOVE WATCHING TEA LEAVES DANCE IN THE WATER, UNFURLING BEFORE MY EYES…"

To many, tea is a social tool - a gatherer at a time when it is becoming increasingly difficult to gather. Sometimes, this is as simple as a quick cup at the kitchen table with family; otherwise, it might be a pot (or two) over a catch-up with friends. "At Quilliam Brothers, we see tea as a lubricant to ideas, conversation and relaxation," agrees Patrick.  

Far from just a fancy cup of water, it is widely acknowledged that tea can calm the mind. According to researchers at University College London, there is scientific evidence indicating that black tea has an affect on stress hormone levels in the body.

"Tea allows me to take a breather, to be more aware, and to enjoy life sip by sip," notes Lu Ann. For me, personally, this is something that resonates deeply. There is nothing quite like stopping what you are doing, taking a quiet moment, and allowing yourself to escape your current situation.

"AT QUILLIAM BROTHERS, WE SEE TEA AS A LUBRICANT TO IDEAS, CONVERSATION AND RELAXATION…"

For Jules Quinn, Managing Director of The *TeaShed, a cuppa is a quintessential part of her day - a way to keep going "until I feel empty, then I top up and I'm good to again." It is little surprise then that the daily drinking figures in Britain are so high. After all, the average full-timer is chained to their desk for a miserable 42.7 hours per week.

"A cup of tea doesn't just represent a moment of hydration," enthuses Patrick. "It is a mindful experience that you can repeat throughout your day to keep you calm, to keep you going, and to be social with."

Walk into any supermarket, and you are likely to be met with a vast array of different teas. From relaxing teas, to soothing ones, and ones to help you on your way to a restful night's sleep, the market has never been quite so saturated. In fact, the UK Tea & Infusions Association estimates that there are about 1500 different varie-teas. (See what I did there?!).

Whether your choice is black or oolong; loose or bagged, there is one thing you can always count on, a point that is summed up perfectly by Jules: "Tea solves everything."

I LIKE THE WAY YOU IGNORE THE FRUSTRATED SIGHS, AND ANGRY CRIES, OF IMPATIENT PASSENGERS THOUGH. IT DOES MAKE ME CHUCKLE.

I first became acquainted with you shortly after my big move to the Capital. I lived in Southwark but would often take the short walk along The Cut to Waterloo to avoid the rush hour madness of your silver companion. I never did fancy being squashed in like a sardine. Conveniently, you were always less of a squeeze and more of a novelty. My journey to university during first year is filled with fond memories of hop, skip and jumping across the gap at Waterloo, and into a warm, plush seat.

You see, that's why I love you so much, Bakerloo. You're full of niceties. You're always ever so polite. You announce my arrival softly. And, whether it's Regent's Park or Charing Cross, you're full of useful tips. Not everyone knows to catch a bus to the zoo but, lo and behold, you kindly inform our stricken tourists. I sometimes wish the Northern line could take a leaf out of your book. So harsh, that one, especially once you get to Balham.

YOU SEE, THAT'S WHY I LOVE YOU SO MUCH, BAKERLOO. YOU'RE FULL OF NICETIES. YOU'RE ALWAYS EVER SO POLITE. YOU ANNOUNCE MY ARRIVAL SOFTLY.

But they could never be quite like you. Not the Northern, Central, Jubilee or even that fancy schmancy new Emirates Airline. You'll always hold a special place in my heart, Bakerloo. Your walls may be forgotten about, and your concourses may not be all that, but you always do make me smile.

Sending my love,

…

Both Harris and Dean had been quietly observing the emergence of rudeboy style in London, before coming to the conclusion that an exhibiton would be a splendid way of working together.

“As the project unfolded, it became apparent that this was going to be a significant body of work, and it needed to be presented in an exhibition,” explains photographer and film maker, Dean. The pair approached Somerset House and were offered a space on the spot.

“Rudeboy style has never before been given a platform like this; a portrayal of life,” argues Harris. Although the exhibition will provide insight into the past heritage of rudeboy style and culture, the main focus is the refinement, and reclamation of the term.

“The rudeboy has taken many twists and turns over the years,” Dean reflects. “The term has a variety of connotations, depending on who you speak to about it.”

The rudeboy originated in ‘50s Jamaica, with associations of adolescent crime. Dick Hebdige, author of ‘Subculture: The Meaning of Style,’ describes the early rudeboy as a ‘lone delinquent.’

Singer and self-proclaimed rudie, Neville Staple explains in his book, ‘Original Rudeboy: From Borstal to The Specials,’ that the culture of Jamaica resulted in him suffering unprecedented violence at the hands of his father - an experience that formed the backbone of Neville’s unruly days as a youngster. Neville remembers, upon arriving as an immigrant in Britain: ‘you had to look confident and in control to survive as a young black man in the ‘60s and ‘70s.’

Part of this confidence was the attire associated with rudeboy style. “There are many sartorial traits that can be observed as a connection to the past,” Dean notes. “Hats are a staple in the wardrobe of a rudie,” Harris adds. “As are severely cropped and tapered trousers.”

The sartorial choices of the rudeboy are, of course, deeply personal however can be recognised via an acute attention to detail. Neville writes that the original rude boys ‘never looked shabby in public - even if it meant burgling 50 homes’ to afford such extravagances.

"RUDE BOYS NEVER LOOKED SHABBY IN PUBLIC - EVEN IF IT MEANT BURGLING 50 HOMES TO AFFORD SUCH EXTRAVAGANCES."

The influx of Jamaican immigrants in the ‘60s exposed British culture to that of the rude boys, resulting in an amalgamation of style choices. English skinheads, with their Ben Sherman shirts, and highly polished Dr. Martens began to overlay the clean-cut appearance of the delinquents.

The anger of the white youngsters resonated with that of the Jamaican criminals. Neville recalls: ‘We understood where that anger was coming from. After all, if white kids’ lives were shit, ours were doubly shit.’

With unemployment rising, the factories closing and hope slowly diminishing, the rudeboys were united by a mutual understanding of circumstance and, later, the joy of attending sound systems in the inner cities.

Dean looks back upon his childhood in the ‘80s when the two-tone ska movement was rife. For ‘Return of the Rudeboy’ he “started to dig deeper and investigate the essence of what it meant to be rude.” Music, according to Dean, played a vital part in the life of the rudie, “from Prince Buster to Spoek Mathambo, and all manner of sonic stimulation in between.”

Nowadays, the rudeboy is associated less with petty offences, and moreso with a swagger that is unmatched. “Our twenty first century rudeboy has shaken off the criminal connotations in favour of a more creative path,” Dean continues. “What we have here is a group of strong-minded people that have the ability to convey their attitude through the ways in which they present themselves.”

“OUR TWENTY FIRST CENTURY RUDEBOY HAS SHAKEN OFF THE CRIMINAL CONNOTATIONS IN FAVOUR OF A MORE CREATIVE PATH.”

The twenty first century rudeboy is diverse and far ranging, so how can (s)he be summarized? “Being rude is a way of life,” concludes Harris. “It’s a statement of intent.”

After attempting to start her own menswear label, Crista realised that there was “an obvious communication issue between brands and consumers,” with designers often focusing on “pleasing their buyers, not their consumers.” Crista noted that, according to Forbes, 90% of fashion start-ups fail. With confidence and elegance, Crista left the audience with a much greater understanding of traditional business models within fashion, and the thirst to research alternative routes into design. 

Bursting onto the scene, next, was BA Fashion Marketing student, Charlotte Lee. A bundle of joy, Charlotte used her sense of humour, to full effect, in order to engage the audience in her discussion around social media. Although aware of its negative connotations, Charlotte managed to persuade us, ultimately, of the importance of social media. “Social media breaks down barriers,” she noted, adding that it “connects people with similar opinions.” Stopping only to check her Twitter and (of course) to take an audience selfie, Charlotte left us with a more positive look at social media, and its ability to spread an honest review of global matters.

Although not quite as bold as her predecessors, my personal favourite speaker of the night was BA Fashion Design and Realisation (now BA Fashion Management) student, Sarah Adekoya. Quietly inspirational, Sarah talked about a friend of hers who had struggled with stress and anxiety throughout her degree, taking us on a tentative journey towards recovery. It soon became apparent that Sarah was in fact telling her own story, ending in the biggest applause of the night – and deservedly so.

For me, it was an absolute pleasure to see not only how varied each of the speakers was in their approach to presenting, but also the confidence with which they spoke about their ideas. Their journey, it seems, is just beginning…

The exhibition begins with a look on the introduction of uniform in every day life, weaving through the need for practicality in fashion and, later, exploring the relationship between rationing and creativity. The wearing of uniform was one of the most noticeable changes during wartime; uniforms meant that mens', womens' and childrens' roles within the war effort could easily be identified.

On display is a uniform from the Women's Land Army, with the original instructions on how to wear it. The need for practicality and function meant that it began to be more acceptable for women to wear trousers throughout the 1940s.  "My mother would roll up the legs of her trousers…" I overhear the lady next to me telling her companion. I chuckle to myself as I read of how this was strictly forbidden, but allowed for tanning of the legs in the warmer months.

A sense of function and practicality was an essential part of life during the war, and this is demonstrated perfectly in the exhibition: from luminous accessories that made it easier for women to be seen by car drivers during blackouts, to gas-mask handbags. Solutions were stylish and always, it seems, in good humour.

For me, one of the most fascinating aspects of Fashion on the Ration is the opportunity to learn about the rationing of clothing. "Wartime shopping required resilience, patience and painful calculations," Laura notes. "People had to 'buy to last', or make clothes from existing or unusual materials available off-ration."

Coupons allowed for roughly one outfit per year, and so they had to be durable. In an audio excerpt - arguably my favourite aspect of the exhibition - one lady remembers a particularly luxurious dress made out of parachute silk; another remembers her swagger coat, which lasted for years! Women were encouraged to treasure their clothes, and taught to darn in order to care for them. Instructional leaflets claimed that 'a neat darn is a real badge of honour.'

The exhibition closes with a thought-provoking film analysing the legacy of fashion during the Second World War. 'We're in a period that feels closely linked to wartime,' notes Saville Row's Patrick Grant. I ask Laura whether she agrees with Patrick's observation: "Many people are now looking back at wartime to understand how people then made the most of the resources available to them, and taking inspiration from that," she enthuses.

The key difference however is that, for us, it is a choice rather than a vital, day-to-day necessity. "It is difficult to appreciate the lack of choice available to people in wartime compared to that available to us now," Laura reasons. It is worth noting, though, that many are staying true to the legacy of our grandmothers: we're making and mending; we're thinking more about robust materials, and moving towards a wardrobe of timeless staples.

It has been 70 years since the end of the Second World War but visiting the exhibition, and overhearing some of the memories of others, has kept the very essence of fashion on the ration alive. "The impact of war endures in so many ways beyond the cessation of fighting itself…" Laura concludes.

Fashion on the Ration runs until 31 August 2015 at the Imperial War Museum in London. To find out more, visit iwm.org.uk.  

Often the issues surrounding climate change are a challenge: how do we make people care? Helen argues that we need to “capture and share the human ingenuity it takes to combat climate change.” After vividly mapping out the immense social response to the Catalytic Clothing project, it appears that Helen is achieving just that.

Achieving (and sometimes non-achieving) was a profound interest of yesterday evening’s second speaker, Dr. Linda Papadopoulos. Linda’s cousin has vitiligo, a condition that affects the pigmentation of the skin, which altered her ability to thrive and achieve. “She became withdrawn; she dropped out of gymnastics,” Linda explained.

Interviewed by MSc Applied Psychology in Fashion student Elena Mansilla, Linda spoke passionately about the pressures placed upon women to have it all.

“Your value lies in your youth and beauty,” Linda problematised, before explaining how the likes of Instagram and Facebook have brought new meaning to the concept of body image: “We’re defining our identity based on people who don’t know us, who don’t care.”

For Linda and Helen, the means to thriving is all about regaining control over your own mind and body. When questioned by one audience member about our tendency to be our own worst enemy, Linda noted:

“Defining a problem is fine but defining a solution is better.”

Helen added: “Without obstruction, there is no growth.”

After picking up a signed copy of Linda’s new book, and allowing the topics touched upon in the seminar to sink in, I left feeling empowered and refreshed. What’s to say that every single person in the audience couldn’t thrive?

An engaging speaker, Miriam encouraged audience members to participate in a series of live demonstrations intended to put key ideas of positive psychology into practice. Talking to Bee Patel, an Organisational Psychologist who was sat to my left, about a positive memory made me feel uplifted. Bee reciprocated by telling me about her passion for dance.

Miriam ended the first half of the talk with one question: Can fashion make us happy?

Orsola, our second speaker, believes so…

“My relationship with the fashion industry is entirely emotive,” she began.

For Orsola, it all started with a jumper riddled with holes and stains. Rather than throw it out, she invested both her time and care into crocheting around each of the holes.

“Through a creative process, I brought [the jumper] back to life,” she argued.

This act of doing good can be seen as an act of what Miriam referred to as “eudaimonic wellbeing”, that is to say, the flourishing of a human being.

The interaction between Miriam and Orsola as the seminar progressed was one of the highlights for me. At first, Miriam joked that fashion wasn’t for her: “I’m five foot one and pear-shaped”. However, after listening to how Orsola invests emotionally in clothes that are “the fruit of inventiveness and love” Miriam remarked that Orsola was doing “the Post Traumatic Growth of fashion!”.

Orsola wants the world to rediscover the value of our clothing, and this includes questioning who made it. This act of slowing down and thinking about your purchases brings meaning to the fashion industry, creating a dialogue between the consumer and what they are buying.

Orsola concluded: “If I didn’t spend inordinate amounts of time thinking about my clothes, I wouldn’t be in this industry.”

For us, Antonella's use of traditional sketching methods has cemented her place as a true WHITEPEPPER girl. It seems that young artists, such as Antonella, are rediscovering their personal love of drawing by hand. Hailed by i-D as an antithesis to a world increasingly dominated by computers and machinery, hand-drawn illustrations allow artists to physically present their thoughts and daydreams on paper - something our design team can resonate with when creating in-house prints for our collections!

You can see more of Antonella's work on her Instagram page @antonellaheng

We're chuffed that one of our international followers felt inspired enough to dig out the stationary. We'd love to see your artwork inspired by THE WHITEPEPPER; Instagram or Tweet us your latest drawings, and don’t forget to tag us!

  DRINK

Now that we’re feeling a little bit fancy, it’s time to get our glad rags on! We’ll be heading off to LOOKING GLASS COCKTAIL CLUB in Shoreditch, wearing something sparkly from the new Party Collection. We’ll start off in the front bar, supping on a tipple in a teacup before heading (literally, through the looking glass) into the main area for a Tweedledee & Tweedledum. Yes, it’s actually called that. Our inner child is clapping with delight.

  VISIT

THE BRICK LANE GALLERY'S latest exhibition brings together both local and international artists, all with the premise of exploring the limitless possibilities of creativity. We’ll be keeping our eyes peeled for Marc Stewart’s ‘Blighty Pop’ series. An amalgamation of old postcards, newspaper cuttings and even ciggie packets, these are delightfully colourful works inspired by good ol’ British Pop Art.

  SHOP

If it’s good enough for Miquita Oliver… Apparently the super stylish presenter is a regular here and even picked up a vintage Chanel bag once. If you’re looking for hidden gems, the best advice is to pop in early; those urban East London types flock here on a weekend. As for us, we’ll be rifling through the vinyl, CDs and books. A bit like Dalston itself, the KINGSLAND ROAD OXFAM is a cultural mish mash of seemingly random, but often amazing, stuff. Bring a friend and a flask, and spend an hour here. A splendid use of time.

You’ve been popping up all over the place in terms of modelling – what has been your favourite shoot so far?

My favourite modelling work was for a show rather than a shoot. I walked for Meadham Kirchoff at London Fashion Week; it had such a good, positive feeling about it. Everyone was so excited about taking part, and I felt very cared for. The clothes were beautiful, of course. Oh, and the sandwich selection was top notch!

What’s your fave thing about modelling?

Well, I do enjoy the free grub! I also love having my make-up done, and learning about the different products and potions. I don’t wear make-up usually, so it’s interesting to see what I look like with all of this stuff on my face!

Where can we find you on a weekend?

I’ve been working weekends for the past year, so I’ve forgotten how they operate! At the moment, you’ll find me at my local Oxfam in Putney. It’s such a laugh, and I love the mix of volunteers we get. If not there, you’ll find me in China Town at China Market – the best place for all of your plastic, Japanese-y goodness, and photo-booth requirements. I love eating hummus at Hummus Bros, although none of my friends like it, so it’s often a one-girl-job. And Pizza Hut is a must for delectable cookie dough. I always go to the one in Kingston, which means I get to visit the wonderful Bentalls shopping centre, too.

We love your style – let us into the best places to shop in London…

I would totally recommend Oxfam in Putney. We get such good pieces in there, as everyone in the surrounding area is pretty well off; they can’t be bothered to eBay it, so they give it to us instead! This week, for example, we’ve had two Fendi tops and a brand spanking new D&G coat. As you do. I’m not much of a shopper (too much of a cheapskate…) but I’d always say TK Maxx and Bang Bang Clothing Exchange on Berwick Street in Soho.

Which is your favourite TWP piece and why?

It would have to be the Egg Print Twin Set. I love a Twin Set; it’s the lazy girl’s way of coming up with a very quick outfit. Anything 60s looking is also a winner. I have my eye on the Ivory Suit Twin Set, too.

Who or what do you fangirl over?

Harry frigging Styles – I mean, do I even need to explain?! Oh, and a close second would be Benedict Cumberbatch (mostly when he’s playing Sherlock.) I’m a manga nerd, so these go hand in hand…

Lastly, how would you describe your style?

I’d say 80s Chanel mixed with Japanese, Harajuku street style circa early noughties. I sometimes wear massive heels, but only if I’ve taken a few painkillers – I get grumpy in them otherwise! I love Japanese-inspired stuff and always have. When I was younger I would dress as a Gothic Lolita, and I don’t think that’s ever left me. Hence having short black hair that can be transformed into a huge Emo fringe if the occasion ever arises. Like thrashing around to Panic! At The Disco, for example.

So how do Pinterest and Instagram differ? “Instagram has a different culture,” Jo noted. The panel agreed that Pinterest is less focused on producing original content, and more so on organising and discovering things. “Instagram has made us all amazing photographers,” Jose said. When one audience member asked what the panel would miss about Pinterest if it were taken away, Jo revealed that her wedding lists would be one of them.

Jo was interested in seeing whether the introduction of sponsored posts on Instagram would have a detrimental effect on its users. When throwing the idea out to the floor, half of audience members indicated that they would stop using the platform because of this. It certainly appears as though obvious advertising is a turn-off: “Using too many hashtags seems desperate,” Jo said. Lauren noted that if Mr. Porter’s Instagram only promoted Mr. Porter it would be “really boring.”

How does the use of social media differ with regards to gender however? After a quick line-up change – Lauren was joined by Fashion Photographer, Jonathan Daniel Pryce, Blogger, Navaz Batliwalla (AKA Disneyrollergirl) and Reader in Social and Cultural Studies, Dr. Agnes Rocamora – Karinna was ready to pose this question. Jonathan argued that, with men, it is more of a “real-time” documentation of their everyday lives whereas, with women, it is about being in a fantasy world. This linked in to a discussion on the construction of gender, through behaviour, in a photograph: a man in a coffee shop looking pensive as opposed to a woman looking wistful in the sun.

The panel agreed that, thanks to social media, it is becoming less of a taboo for men to look at other men. “It’s becoming more acceptable for men to share selfies,” Lauren said. Agnes agreed, noting that Instagram “legitimises that a man can follow another man.”

LCF’s MA History and Culture of Fashion student, Ellen McIntyre, believes in both. “I’m from a generation that has grown up using the internet, and I’ve never known academia without it,” she notes. “I know that it has been criticised for producing and circulating untruths but I think, as researchers and academics, we should always be challenging our sources.”

The internet can also open up access to rare texts that might not otherwise be found in its physical state. Professor Amy de la Haye explains: “The internet is invaluable as a source of research. I find rare texts that save me going to specialist libraries, and access to museum collections and exhibitions is incredibly useful.”

De la Haye works alongside Professor Judith Clark as joint director of the Centre for Fashion Curation at LCF. Despite singing the praises of the internet, de la Haye believes that there is nothing quite like “seeing, discerning and/or handling the real thing.” As a dress curator and historian, de la Haye is familiar with handling garments that have survived many different stories, however that hasn’t resulted in a wane in enthusiasm. “I am especially fascinated with clothes that have been worn as evidence of a life lived,” de la Haye enthuses.

McIntyre agrees: “There is something glorious about handling a historical item, whether it’s a four-hundred year old book or a nineteenth century bustle dress,” she says. “It appeals to all of your senses, especially if you don’t know what it is; you feel the desire to understand it.”

She is quick to add, however, that an object doesn’t have to be historical to be considered special. “I’ve had the pleasure of rummaging through the Alexander McQueen archive, and handled items that may have only been a couple of years old,” she smiles, adding: “There’s still something awe-inspiring about holding a garment that Lee made.”

Perhaps that sense of personal connection with physical entities remains after all?

I ask McIntyre whether she thinks the world wide web can move people in the same way. “The internet is, undeniably, an incredibly useful tool for research,” she says. Images of not only McQueen’s garments, but also any other notable fashion figure’s work, are very familiar. “To actually physically touch an item that you recognise – and that moved you – is like making a connection; it’s definitely an intimate experience.”

“The objective of the exhibition is to educate people about this hidden history,” CIAD’s creative director, Teleica Kirkland, told the African Prints in Fashion blog, “to essentially highlight what these different cultures within Africa and the Diaspora have done with the remnants of colonialism and war; how they turned an influence brought to them through destruction into something beautiful and captivating.”

The exhibition opened with a bang at Craft Central, with dancers from the Caribbean performing alongside traditional musicians from Africa and Scotland. Featuring costumes from all walks of African life, from the Maasai people of Kenya and Tanzania to the French Caribbean and Jamaicans, Tartan: Its Journey is not only educational but also vivid in its aesthetic.

In Scotland, before the 1800s, tartan was associated with districts or areas depending on the unique use of natural dyes. As I navigated the exhibition, it became clear that the use of tartan (or a similar checked material known as ‘madras’) by the African diaspora also included these subtle differentiations. The Shuka costume, which is worn by the Maasai in Kenya and Tanzania, used significantly higher proportions of the checked fabric than the Caribbean costumes for example.

A wonderfully researched description accompanies each costume, detailing its history and meaning. Members of the Scottish 42nd Regiment of Foot wore the Black Watch uniform; a dark blue (almost black) and green check characterizes the look, giving the regiment its ‘Black Watch’ nickname. The Jamaican national costume, whilst following the same route from India as other parts of the Caribbean, uses a fabric known as ‘bandana,’ from the Hindi word ‘bandhana,’ meaning ‘to tie.’

Exhibition-goers, whilst delighting in the costumes on show, are also given the opportunity to fashion a piece of tartan into a traditional headwrap. Although appearing complicated, the look is relatively simple to replicate. Gallery assistant, Kate Alekseeva, was on hand to guide me through the steps. “The headwrap is used for protection from the sun but also for fashion,” she tells me. As with the use of tartan, the style of headwrap differs from country to country. “That was so fun!” another visitor exclaims, after unraveling themselves.

Although small, Tartan: Its Journey through the African Diaspora leaves a lasting impression; it’s bright and bundles of fun. The exhibition itself forms one part of a three-part project, a collaboration between the CIAD and the V&A. Now in its last week, the exhibition will conclude with a talk from Kirkland on Friday 29th August, giving visitors an opportunity to learn more and ask any questions they might have. Visitors can also get involved after the final showing of the exhibition, with a related documentary and performance scheduled for Friday 12th September at the V&A.

Tartan: Its Journey through the African Diaspora runs until Saturday 30th August at Craft Central: 33 – 35 St. John’s Square, London, EC1M 4DS. Entry is free and the exhibition is open daily from 10am – 6pm. The documentary and performance is scheduled for Friday 12thSeptember from 6:30pm – 9:30pm at the V&A’s Learning Centre and is also free to attend.

Another key moment in the history of fashion image making was the launch of the ‘Visionaries’ series in November of last year, allowing moving image provocateurs to premiere their own original films alongside newly commissioned work. James Franco, who directed a surreal art film, launched the series.

“For me, it isn’t enough for a fashion film to exist solely as a beautiful image,” Jennifer argued. “At Dazed, we try to conceptualize ideas and push the genre forward.” As a case in point, students were shown a candid interview with David Bailey – a film that really engaged the audience at the RHS.

The latter part of the evening was dedicated to opening up a discussion with students around image making and the industry in general. Questions were posted on Twitter using #AskDazedEditors and #InsideFashion and students were presented with a rare opportunity to network with the team. ‘Can you live off what you do?’ asked one student. “It takes a long time but if you work hard you will reap the rewards,” Robbie said. “We’ve all had double, sometimes triple jobs!” Elizabeth added.