We’re admirers here at So Young and with an LA solo show on the horizon it felt like a good time to catch up with Peter and delve into his painting process, talented friends and inspiration.

What inspires you to start a piece of work?

I draw inspiration from a lot of things. My work being mostly figurative I am inspired by the people around me. I tend to work from photographs now as it gives me more time to look at the subjects and a better idea of how I want the work to be laid out on the canvas

What’s your routine like? How do you begin your painting process?

I tend to work at odd times in the day really, There’s no set routine of a 9-5 although I do like to work in the morning then take a break around lunch time and go for a walk, grab a coffee. Maybe have a poke around for some ideas or look through pictures of what I’ve been working on that week/morning. I have my studio in my house so I find that suits me well when I have one of those quiet days and the guilt sets in. I can jump back to it at anytime!

Do you remember when you were first exposed to Art, in a way that resonated with you?

I’m sure I was brought to the national gallery in Dublin by my folks. But nothing really had a lasting impression until I was older. I was into that old New York style graffiti, I watched a documentary called “style wars” that changed how I thought about the graffiti/fine art co-existing. When I got to be in my early twenties or so I was looking at painting and its practises a lot deeper. I wanted to start making work on canvas so I had met a pal in a pub in Dublin who had a storage space. Cleared it out and starting making work on canvas.

Are there any questions you’re trying to answer in your work?

Well, I like to make my work have a feel of movement. The work itself is very much about the present moment and the people I capture within that. I find I do plaint scenes mostly of people in a not so fully formed room or context, but it is totally up to the viewer to see what they feel from the work. There’s no one answer that comes to mind for me anyway, I just enjoy painting them this way.

How much of your personal experiences are in your paintings?

As the works do involve myself and from the pictures I am taking while out and about I would say a lot of it is personal experience. And how I see things in that time.

Whose work do you admire and why?

I’m pretty lucky in this regard as I have friends doing some great things. To mention a few I would have to say I love the work that Fontaines D.C. Eimear lynch, Ewen Spencer, Simone Rocha, Mattea Perrotta, Domino Whisker and George Rouy are making. That list can go on and on. I have a lot of admiration for anyone doing what they love to do. And in those people I named above that really shows.

Would you say there is one theme, however vague, that runs through all of your work?

My work consists mostly of people in various surroundings. I’m pushing it back more and more at the moment to just be focused on the subjects at hand. There is a theme of togetherness throughout.

Your work has been used across several music campaigns but does music influence your work at all?

I do listen to music a lot while I’m working. I also have a monthly show on NTS I have been doing for some years now. So when I’m not painting I’m finding music for that. Last winter in Dublin I painted a lot of jazz club scenes. Piecing together old photographs and personal pictures. That was some of my favourite work. So yes. It does influence work from time to time.

What are you currently working on? And what can we expect to see from you in the near future?

I will be starting work on a solo show in Los Angeles.
And a few more bits scattered around.

Peter Doyle Interview in So Young Issue Fifty-Two

@peterjrdoyle

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Hailing from Lymm, a village just outside Manchester, self-taught designer Sam Nowell is navigating the fashion world with homegrown, autobiographical honesty.

First known for his tongue-in-cheek repurposing of mundane items into clothing pieces, often working with salvaged fabrics and referencing themes that defined his upbringing in the northern English village. Nowell has now collaborated with the likes of Wimbledon, TATE and Depop. All alongside launching several collections including most recently, ‘FETE’ with Edie Owens, a love letter to village life.

Originally studying Architecture at the University of Liverpool, Sam grew weary of the unrewarding process and looked elsewhere, “I don’t have any formal education in Fashion, having taught myself how to sew on a friend’s sewing machine when I was in my first year at Liverpool. I was bored of drawing buildings that were never going to be built and needed something more gratifying. I ended up using this sketchbook we were given to draw clothes whilst in lectures and on the bus back to my halls. I’d go into charity shops or on eBay and find the most fabric I could for the cheapest price and then take it home and start cutting it up. That’s how it all started really. Then I wanted to be taken more seriously as a designer so started working within collections instead of one-off reworked bits. Here we are now.”

We caught up with the exciting designer to talk nostalgia, New Order and The North.

How would you describe yourself and your practice?

My work is a way for me to communicate themes that were present in my childhood, growing up in an anonymous northern village. It’s a love letter to a village life ideal, hopefully sitting somewhere between traditional folk costume and customs, and the contemporary customs that happen every day in the village. I’m always trying to be honest with what I produce. It comes from something I’ve lived or a reference I feel I can align myself with. I’m sure it sounds obvious but there’s a lot of things out there that lack sincerity or any kind of integrity.

Who do you have in mind when designing? Do you feel like you have a certain kind of customer?

I don’t necessarily have anybody in mind but myself when I design. It’s all very personal, autobiographical. I’m very grateful that it’s been able to resonate with as many people as it has. I’d like to think the people who buy and support my work can relate to the themes and the graphics. It’s all very nostalgic and there’s references from a wide range of sources, from bits of popular culture to obscure rural motifs.

Do you remember when you were first exposed to Art or Music, in a meaningful way that resonated with you?

I can remember being sat in the back of my dad’s car and being mesmerized by his New Order CD’s. I used to get really bad motion sickness and remember just tracing the outline of the blue splodge of New Order’s ‘Best Of’ CD, I can still trace it now if I close my eyes. I think being that young and connecting these artworks to the sounds that were coming out of the car stereo really influenced me, later being obsessed with everything Peter Saville and Factory Records, to the point of having the logo tattooed on me.

You’ve worked with Wimbledon twice now, are there any other brands in particular you’d like to collaborate with or design for in the future?

Working with Wimbledon was really special. I’d love to do stuff with Umbro, I always have done. Barbour & Baracuta too. I’d love to do something with Cath Kidson, which probably sounds a bit bonkers, but come on.

How do you want people to feel when they are exposed to your work?

I want it to evoke northern English youth culture while neither romanticising it nor sneering at it. That’s as concise as I can get that answer I think.

Does music influence your work in any way? If so, how?

Oh massively. Lyrics will run round my head or be scribbled into my sketchbook. Sometimes they’ll be written onto shirts or serve as a basis for something I’m making, or be the soundtrack to a show or a campaign. Words, phrases and sayings always find their way into my work and I think work really well thematically in my practice of attempting to comment on northern or British rural life. Growing up listening to the likes of Kate Bush and Morrissey who are masters of using music as a medium for storytelling, I was obsessed with that, fascinated by that. I loved the idea of pulling from different mediums and working them into your own thing. Thinking about it now, it’s really the basis for my own work.

What’s been the main challenges of starting your own brand?

The main challenge was that first step. I always tell people that. The first time you have to show your ideas to your friends, then the internet. Its fucking daunting, it’s a very vulnerable thing to do. The references are obvious and the quality of what you’re putting out isn’t where you want it to be. But it’s so important to keep at it. I had really talented friends who were photographers and filmmakers and artists who could never make that first step, and never went on to be what they wanted.

That’s the single biggest challenge for anyone I think, the recognition and the money and the support will always come, but in that moment right at the start, you’re all by yourself.

How has growing up in and around Manchester influenced you and your work?

I think it’s a feeling of determination and drive that’s maybe not necessarily particular to Manchester, but more The North in general, and those frustrations from being in those anonymous surrounding areas that’s really spurred me on. It’s a constant chanting of the words “nothing will happen until you make it happen” that has always been there for me, and I think is a familiar feeling for Northern creatives, where the spotlight isn’t as bright as it is for those from London. I say that with no resentment, and reading it back I’m sure it looks that way, but please don’t mistake it for that.

How do you feel about the brothers reuniting? Get tickets?

Hahahaha I didn’t!. It’ll be a wild experience for anybody going, not sure it’ll be Knebworth, or maybe it will. Always love that quote from Liam about only playing two gigs at Knebworth saying how stupid it was, and that they should still be playing it now.

Who’s your favourite new band?

Splint. 100%. Manchester band with a really industrial sound that I can’t quite describe. There’s this real feeling of frustration from them, something I always love from a band’s sound.

What are you currently working on? And what can we expect to see from you in the near future?

I’m working on a couple of bits and bobs to close the year out. Nothing too nuts. Next year we’re working towards another show, there’s a few ideas bouncing around the studio – mainly screenshots from This Country.

Photographs courtesy of Robert Kiernander & Daniel De La Bastide

@samnowellstudios

samnowell.com

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What first drew you to photography?

I know it sounds simple but, when I was a teenager I would say at the beginning for me it was not forgetting important moments since I only have a handful of pictures from my childhood. Then after growing up it’s a tool to connect with people, I think I make friends easier when I am carrying a camera.

What’s your main inspiration while creating work?

My inspiration is just to seize the moment. To be present. Document something bigger than me, I guess. I always keep in mind Henri Cartier Bresson’s way of capturing the world. He said basically that there is a creative fraction of a second while you are shooting, your eye must see a composition or an expression offered by life and you need to follow your intuition when to click the camera. That is the moment, when you miss it, it is gone forever. I try to not be haunted by the missing ones.

What photographers have had the biggest influence on you?

My work is very influenced by my college classes, Robert Frank’s portraits in The Americans and the faces of characters he saw, like the girl in an elevator, the two guys driving a car and a black girl working in a restaurant.

I like Henri Cartier Bresson’s use of composition rules, I try to stop and breathe before I click the shutter looking for something to make the frame look nicer. Someone that my teacher Gillian mentioned in class was Anton Corbijn. At the time, when I told her I wanted to shoot musicians, I was obsessed with shooting another local band called The Love Buzz, spending hours and hours on end printing an outgoing body of work, about them, youth and good craic, and I kept trying to submit pictures of them for every assignment.

You’ve formed an amazing creative relationship with Cardinals, how did you first meet
them? What’s it like shooting them?

Thanks a lot. It has been a pleasure working and getting to know the guys, they take really good care of me. I met them a couple of years ago. As I mentioned, I used to hang out with Kieran, the Love Buzz singer, and his friends. One day I heard that his brother Aaron started a band so I went to see them at Fred Zeppelins, the coolest tiny Cork rock venue, because I thought he was a nice person and I wanted to capture more of the beautiful brotherhood connection between them. I was also curious to hear their sound as I never heard Aaron play the bass before, this was when Euan was still playing drums.

Shortly after they contacted me to shoot some film press pictures. We went to an improvised studio above an ex coffee shop I used to work at. Thank you to my manager that allowed me to use the space.

Shooting them is comforting in a way, I have been shooting them for a bit, on and off the stage, so they are used to the camera. I feel safe travelling to cities we have not been to together. I feel we all look after each other. They are used to me because I was around them even before working together, and because I am the coolest person ever to work with. They trust my creative process, communicate clearly what they want, and I think thats why its easy working with them. The fact they are all gentlemen also helps.

In particular you took the photo for the cover of their EP, what was the idea
behind that shoot?

The band was invested in paying tribute to The Pogues, especially the ‘If I Should Fall From Grace With God’ album cover. So I took that as a guide and tried giving it a twist. I shot that on 120 film and I was amazed by the final work, and that look only comes from what film has to offer.

Would you say there is one theme, however vague, that runs through all of your work?

I would say young people, especially young musicians having fun. I grew up watching Skins haha so I gave my all to document the closest thing I could find in real life. I wanted to be with the cool kids. I want to be part of something bigger than myself. Be part of the artist community.

What’s your average work day like? When following a band on tour.

When following Cardinals, I do my best to travel with them because for me, every tour starts at home. Carrying the gear, traveling, and everything it entails. Eating, sleeping, reading and the emotions I can capture. We usually have a couple of hours to spare before soundcheck so we eat together and catch up a bit. After soundcheck, I give the band members a bit of space, and I try to be alone for 15 min. I do some yoga and meditation. Yeah, it sounds a bit pretentious, but I am just following my mum’s advice. I want to be in a good headspace to do my best when I am shooting, to make pictures I would like to see hanging on my wall.

Right off the stage I wait a few minutes when people stop talking with them. I ask them how the gig felt, how they are doing, and sometimes ask twice because I want them to feel their feelings for a bit before hearing their answer. I try to show empathy for them. I would imagine you would not want grumpy subjects near you for the next couple of hours or even days, for my own piece of mind.

After talking with the band and finding out where we are going afterwards, I try to start working at the venue before we leave. I finish the work when everything is quiet after everyone has gone to bed, usually eating oreos, listening to full albums one after the other. So, the band has the pictures to promote the next gig that is often that evening. When I am done, I sleep on the train, or bus, and drink loads of water.

What are you currently working on? And what can we expect to see from you in the
near future?

I will say, something my mum has always told me is, don’t tell strangers about your plans or projects before they are done. Especially when the big new starts to circulate, it can protect you from bad energy.

To whom it may concern, thanks for reading my intimate thoughts. Yes, all I do is think about pictures. And yes, I am in the band. Thank you to So Young for making my little journalist 16 y.o dreams come true.

emilyncardona.myportfolio.com

Emilyn’s Instagram

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How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?

I draw when I feel confused about what I’m feeling or when I’m eager to vent out my emotions.
I usually work on my iPad, beginning with a simple, crisp outline (the foundation of my vision). From there, shades and colours flow naturally, arriving as they wish, adding depth and intensity to the initial sketch. Each layer becomes a spontaneous expression, allowing the artwork to evolve organically.
The creative process serves as a therapeutic outlet for me, allowing a dialogue with my inner self. I view my illustrations as a way to communicate with myself. Through my art, I aim to capture the elusive and often unclear emotions that exist in reality. I also seek to connect and communicate with others through various design and creative forms, striving to bridge our experiences in a meaningful way.

What are you currently working on?

A collaboration project with a local shoe design studio(chenjingkaioffice), in which I translate my illustrations into 3D models, and later turn them into shoe soles and metal accessories for shoes, some ceramics for my solo show in Tokyo in September, a book, Tokyo Art Market in October, and some commissioned illustration projects.

I’ve recently seen you recreating some of your pieces in physical form, how has that worked?

I draw on the knowledge I gained from my industrial design studies and the support of my friends to create. Two years ago, a friend taught me how to work with clay, and since then, I’ve enjoyed experimenting with it once a year.

Tell us about a typical working day

A typical working day for me begins with making a fresh cup of coffee to energise myself for the day ahead. Afterward, I take some time to clean the house, ensuring my space is tidy and inviting. Next, I take care of my plants. I then fit in a workout or some form of exercise to keep my body active and healthy. Following my workout, I dive into my work, focusing on my tasks and projects. As the day progresses, I take a break to cook, allowing me to refuel and recharge. After finishing my meal, I continue with my work until the day winds down.

You’ve previously worked with bands like Walt Disco and more recently Fontaines D.C. What has the process been like with the new Fontaines D.C. singles and album artwork?

The illustrations for Fontaines D.C. are actually pieces I had created previously. They selected a series of my existing work and purchased the licensing rights for those pieces.

Who’s work do you admire and why?

I admire a variety of creators, particularly in comics, such as “Watchmen” and the work of Tatsuki Fujimoto. I’m also a fan of anime, particularly the works of Satoshi Kon and Masaaki Yuasa. Additionally, I enjoy cartoons like “Anpanman” and “Doraemon,” as well as TV shows like “Hacks” and “Bojack Horseman.” Each of these artists brings a unique perspective and creativity that I truly appreciate.

Oue new collaboration t-shirt with Lulu Lin is out now! Shop

instagram.com/da__h_/

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Created between Naarm/Melbourne studios, and mixed by Nao Anzai (Floodlights), ‘Lush Life’ was originally released last year and sits at just over half an hour long. During those thirty three minutes, The Belair Lip Bombs use their time perfectly to display their instrumental abilities, creating a sound which mixes Indie Pop and Rock. The record will see a brand new physical release this October via Third Man Records – one black edition and one limited pink pressing. 

Once you start ‘Lush Life’, it’s very hard to turn the record off; The Belair Lip Bombs hook you in immediately with “Say My Name”, an opener filled with longing, reminiscing and reflection. Lead vocalist Maisie Everett brings Julia Jacklin to mind as her vocals build power during the frustrated verses (see ‘Gimme Gimme’) as well as demonstrating impressive technique on ‘Thing’s You Did’ with a charming falsetto high during the chorus and skilfully slides back into the verse. 

On the record, Everett says “The album is titled Lush Life – these words are referenced a few times throughout the album. Themes or motifs explored in the album often involve a longing for something that isn’t there, but maybe not quite knowing exactly what that something is. The term ‘Lush Life’ sort of describes a picture-perfect world where everything is easy (but doesn’t actually exist). I wanted it to be perfect, and we tried a lot of different things in the studio, in terms of melodies and harmonies. It was a lot of fun. I was playing in another band at the time and constantly on tour which made it hard to finish the album in a linear way. But I’m glad we took our time with it, because it’s turned out exactly how we wanted it.”

Instrumentally, the band creates neat backdrops for Everett’s vocals with hints of brass and synths throughout the record. The tight musicianship shown by the band is all the more impressive when remembering that this is their debut record and that alone is a testament to the band’s incredible potential. With new material coming next year, along with UK show dates, The Belair Lip Bombs are definitely one we are exited to hear more from.

With that in mind, we caught up with The Belair Lip Bombs ahead of today’s Third Man signing announcement, to see how the new partnership came about and how they hope it will bring new fans to their music.

Congratulations on your new partnership with Third Man Records, with the new Jack White record just out in the world, it must be an exciting time to start your relationship with the label? 

Thanks so much! Yeah, it’s a super exciting time for the label and we honestly couldn’t be more thrilled to start working with the team. We had an amazing day out in Soho with the London Third Man crew earlier this year which got us really excited to work with the label internationally. They are all such lovely people and it was obvious that they were big fans of our music which has already made such a difference while working together.

You’re based in Australia but came over in May to play festivals like The Great Escape along with some regional shows. Was it your time in the UK that sparked your relationship with Third Man? Can you tell us how it all happened?

We met with the label during our stint at SXSW in February, but we really solidified the relationship during our UK/EU tour in May. Camille and Molly from the Third Man team came down to a bunch of our UK shows which we all really appreciated. That supportive nature, particularly when playing in cities where you’re relatively unknown, was a big reason why we were able to foster that relationship.

You’re getting started right away by reissuing ‘Lush Life’ – can you tell us why giving your debut another shot felt important and how you’re feeling about the potential of attracting a new audience to those songs? Do they still feel very ‘current’ to you or are you itching for the next thing?

We’re all really proud of ‘Lush Life’ and are stoked that new listeners will get to hear it. The internet is obviously amazing for connecting people with music from all corners of the world, but sometimes getting it into the right hands can help get it into the right ears. I think we’re already seeing the benefits of that with UK radio play, College radio in the US etc. While we’re definitely itching to record and play new music, giving ‘Lush Life’ a bigger distribution feels equally as important for us right now.

‘Lush Life’ will be available physically in October and on pink vinyl – has the idea of having a version which people can hold and spend time with always been important to you? Is there a record you’ve collectively spent time with in that tangible way?

It’s really special getting to hold the physical record you’ve created with your friends. There’s definitely a big space for physical media, and I know as a band we all love collecting records and CD’s from the artists we love. We all have super eclectic tastes in the band which I think comes out in our sound, but there are definitely a bunch of records we collectively love too.

For those who are a little late to the party and just getting started with your music, which song from ‘Lush Life’ would you guide them to first and why that song?

‘Suck It In’ is a song we really love playing live. I also think that song is the best at summarising the general themes and lyrical motifs throughout ‘Lush Life’.

Now this is all out in the open, what are you working on next?

We’re currently in the writing phase of our next record. It’s gonna be hot.

You can stream the album in full here as well as pre order the reissue on limited vinyl.

Photo by Ian Laidlaw

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I was originally drawn in by the way you repurpose nostalgia within your work with a new angle and message. Is accessibility within your work important? Presenting an important message via graphics and symbols that are familiar to everyone.

Yeah I definitely lean on popular culture references, either text or imagery to create a familiarity and accessibility. Fucking hate wanky overly conceptual art, normally done by the people who say ‘art is for everyone’.

Being a working class artist who tackles elitism within art. What do you think about the current state of the art world?

Rich folk with limited life experience pumping money into rich folk with limited life experience. Makes for boring art in elitist galleries. We need more POC, working class and queer representation in galleries, arts councils and teaching in schools. Until then we are standing still.

What’s the story behind the name, Trackie?

Originates from a bender in 2014, I think the joke was because I bought a spare tracksuit with me to the afters because I knew I was out the for long haul, but who knows at this point.

What are you currently working on?

A couple of collaborations, one being Irn Bru which is pretty iconic. My next solo show will be at the end of the year in Glasgow and London.

Do you remember when you were first exposed to Art, in a way that resonated with you?

I think I must have been about 16, an ex student had come in to our art class to do a talk and introduced me to Keith Haring. Until this, I’d used art class as a total piss take so to have this ex student, who looked and sounded like me come in and talk about art in a way that wasn’t dull or historic was maybe a bit of a turning point. I went home straight after and Asked Jeeves (Gen Z’s this was google back in the day) about Keith Haring, who’s went on to be one of many of my queer inspirations.

What’s your main inspiration?

People, places and patter.

How did growing up in Glasgow affect your work and career?

Growing up there, aye the backdrop was cold, grey and it was sometimes as hard as its exterior but underneath all that it’s got heart of gold. It’s shaped me to have resilience and a thick skin which has made me a more determined person and artist. It’s rich history, culture and humour has also given me a bank of inspiration and made for a Scottish centric point of view that is sometimes left out of the British art world.

Where do you see your work going? Is fashion a world you want to continue to work in?

I want it to live across all worlds and mediums. I’m jealous of those marketable people who just paint and sell their work, but my lane is non linear, so I’m unsure where it’s going but as long as it’s going somewhere.

Could you tell us a little bit about the design we’ve used for our collaboration t-shirt?

It’s a mono print from 2019 which reads ‘LONDON NEWYORK GLASGOW.’ The slogan normally reads something like ‘LONDON PARIS NEW YORK’ those being the cosmopolitan hotspots, but Glasgow is the center of my universe. I guess these are also places I want to conquer. Plus the little chef is a nod to all those 90’s motorway pit stops for cold chips.

I hate this question but I’m asking you because there’s a chance it could include Mr Blobby. Who would you invite to your dream dinner party? Dead or alive.

I totally get why you think Blobby would be on the lineup, though an icon, I don’t think he’d have much to say for himself. So I’d have to say Pete Burns, Andy Warhol, Joey Essex.

What can we expect to see from you in the near future?

More tomfoolery of course.

Keep your eyes peeled for Trackie’s second solo show…

@trackiemcleod

Header photo by Luca Pellegrino

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The work chosen ranges from ceramics to children’s books and character design. We caught up with the selected illustrators to get an insight into their work and highlight some of our favourite pieces.

Millie Johnson – @mill.ustration

What made you want to become an illustrator?

I’ve always known that I would be a creative of some kind, but I think the turning point for me was discovering that illustration exists everywhere and in so many different forms, particularly in such an increasingly visual world- it’s not just children’s books. I remember seeing the album art for the Yardbird’s Rodger the Engineer and realising ‘Oh, I could get paid to draw silly characters!’.

How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?

I usually start out in my sketchbook. I like drawing whilst watching archive footage or listening to music associated with the project I am working on as it helps me get into the headspace of what I’m trying to communicate. From there I either get out the iPad and work digitally or get a lump of clay out and see where things lead.

Tell us about your Final Major Project.

My Final Major Project centres around British pub culture, particularly the specific type of hostility that the regulars extend to non-locals. With this project I attempt to satirise the entitlement of these characters and immortalise them through the form of a toby jug. Toby jugs and character jugs are representative of a bygone age of public houses, collecting dust as a permanent, ornamental fixture of the pub environment- not too dissimilar to the locals themselves. 

If you could work with a dream client, who would it be and why?

I’ve always loved the idea of creating the visual identity for a festival so I will have to say Green Man Festival.

What direction would you like to take your work post higher education?

Since I am relatively new to the world of ceramics, I hope to develop my knowledge of the practice further and get even more experimental and ambitious with my sculptures. I also intend to continue working as a freelancer, hopefully within the music industry.

Dominika Leszczynska – @dleszczynskaa

What’s the biggest lesson you’ve learnt being at AUB?

Understanding the value of constructive criticism is crucial for the growth as an artist. I’ve come to understand that criticism is not just about pointing out flaws; it’s about identifying opportunities for improvement. 

What informs your practise? 

Nature, particularly the underwater world. Growing up near the beach, I’ve always felt a strong connection to the sea. The natural forms and organisms inspire me to explore organic shapes and fluid movements in my artwork.

How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?

I usually start a piece with brainstorming and gathering research. I browse Pinterest and research relevant themes or topics to get an understanding of what I want to create. Once I have a concept in mind, I might sketch out some ideas, but that’s not always the case as I like to go straight to Blender. In Blender, I start my making basic models and compositions of the scene. Once the basic layout is done, I begin modelling more elements and then apply materials and shaders that really bring the scene to life.

How did you develop your personal style? Who are your influences?

My personal style has shifted quite a lot during my time at university. When I first began studying Illustration, I struggled to find my identity as an artist. I initially experimented with creating images on my iPad, but I wasn’t satisfied, as I felt like my work lacked depth and direction. That changed in second year when I discovered Blender. The software allowed me to explore my ideas in a more dynamic and expressive way. I finally felt like I was creating art that I was proud of. My biggest inspiration is Mikaela Stafford, whose vibrant and abstract qualities greatly influence my work, particularly her use of spherical shapes, which significantly impacted my recent projects. I also draw inspiration from other designers, such as Wang & Söderström and Kushagra Gupta. 

Tell us about your Final Major Project.

My Final Major Project explored the beauty of microbial organisms through a series of 3D renders. I was inspired by coral patterns found in marine life and was influenced by Curtis A. Suttle’s influential paper ‘Viruses in the Sea’. My goal was to create pieces that combine natural forms with surrealistic elements, with a touch of science fiction. 

dominikaleszczynska.com

Erin May Cooper – @erinmaycooper

What made you want to become an illustrator?

I’m one of those really really annoying people that have been drawing since they came out the womb, so ever since I was little, I’ve always wanted to be an artist. I kind of accidentally fell into illustration though, I don’t think I even really knew what it was when I applied for the course!

I had a really difficult time during A-Levels because of my mental health and I left Sixth Form hating and the way it was taught. This was also around the time that lockdown happened, so I ended up taking a year out. I started messing around with my finger on a free art app on my tablet and I think it taught me that art doesn’t need a deeper meaning, and it doesn’t always need to be serious, sometimes it can just be a cowboy farting! And bam, just like that I have a degree in illustration!

Tell us about a typical working day.

I always work best in the morning, so I like to either get into the studio or at my desk early. I love having either a friend to keep me company or a podcast. I’m very into ones about history at the moment. I like to have almost a conveyor-belt-approach if I’m working on a big project but other times I just go with the flow. I do tend to get sucked in by my work! So, I try and take a lot of walks and get some sun and treat myself.

How do you want people to feel when they see your work?

I want people to feel happy! Or maybe say ‘Oh that’s clever!’

How did you develop your personal style? Who are your influences?

I got very lucky and kind of found my personal style in first year, and since then it’s just kind of grown and changed with me as I’ve tried new things. I’m a big fan of simplicity and pattern so that played a big role in my style. But I still have so much growth to do!

My all-time favourite illustrators are Charlotte Ager, Lizzy Stewart and Ruby Wright. I love the way they use traditional mediums, and I am determined to reach their level of illustration greatness.

Nick Sharrett also had a major influence on the way that I draw people!

Tell us about your Final Major Project.

My final major project is a children’s picture book and it’s a retelling of ‘George and the Dragon’. It’s about mother-daughter relationships and the power of knitting! The idea came about during a conversation with my mum about how cool it is that all the generations of women in our family have been knitters or crocheters.

So, I would say that it’s a love letter to the relationship I have with my own mum, and our shared love for crochet (I unfortunately get road rage but for knitting).

erinmaycooper.com

Heidi Teremetz – @heidi.teremetz

What’s the biggest lesson you’ve learnt being at AUB?

It is so important to take pride in your work and put yourself out there!

Tell us about a typical working day.

To be honest I don’t find it easy to repeat the same routine working at home! I like to switch it up; I will work outside, in the kitchen, in a café – but sometimes I will be in a rut all day and only end up finding a flow at 11pm. I think it’s important to keep trying new angles of looking at a brief if you’re struggling but if it isn’t working honour it!! A break can give a completely new perspective.

How do you want people to feel when they see your work?

Happy and nostalgic and fizzy.

How did you develop your personal style? Who are your influences?

I have gone through a LOT of different eras to get to where I am now, but I really like work that has lots of warm harmonious colours and natural, painterly textures. That’s probably what has consistently inspired me the most.

Tell us about your Final Major Project.

I sat down and I thought ‘okay, what do I want to do more of in my work?’ And the answer was dogs and interiors. So naturally I ended up writing and illustrating a story about a hotel for dogs! 

heiditeremetz.com

Tom Filer – @thelostoctopus

What informs your practise? 

Initially I was very inspired by other artists that i found on instagram including Sam Drew (aka Lumps) and Alex Gamsu Jenkins, but more recently I’ve incorporated life drawing into my practice which has been a larger source of inspiration, as well as being involved in a community of creatives with a vast range or styles. 

Tell us about a typical working day.

A typical working day for me always starts with lots of strong coffee, followed by a morning dog walk. When I finally sit down to work I begin by looking through art books, zines and art websites to get inspiration. I’ll patiently wait for a concept to present itself in my mind through initial sketches and studies. Once an idea arises I will be locked in and focused with music on and coffee at reach at all times.

How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?

I start my illustrations with a coloured pencil sketch. Often my ideas will come to me when I’m out and about, so I carry a small sketchbook on me at all times. This also helps encourage me to draw everyday. I usually develop my ideas with a few more sketches to experiment with the composition, then I refine the image digitally using procreate or photoshop.

How did you develop your personal style? Who are your influences?

Over lockdown I came across a community of illustrators who were interested in lowbrow art and dark humour. These were the artists I initially learned to illustrate from. When I began studying at AUB I was exposed to countless new artists who worked in ways I hadn’t considered before, so I ended up trying lots of new ways of working including drawing on an Ipad, risograph printing and stop motion animation. My style is still developing though however, as I continue to try new things and figure out what I enjoy illustrating.

Tell us about your Final Major Project.

My Final Major Project was a mixture of various opportunities I jumped onto, including making promotional art for a tattoo studio, two entries for Pier magazine and the main part of my project was an animated music video I created for my own music. The video is all 2d and experiments with a range of styles, while primarily showing themes of dark humour. 

tomfiler.com

Freya Relfe-Dacey – @freya.rd.illustration

What’s the biggest lesson you’ve learnt being at AUB?

The importance of pushing yourself and your work. I used to be the kind of person who would cling to an initial idea and resist developing it further or thinking outside the box. This stubbornness was evident in my earlier projects. However, once I let go of the notion that everything must go exactly according to plan and match the idea in my head, I saw my work and outcomes flourish. I created pieces I am genuinely proud of, which I never would have achieved without this change in mind-set. Listening to and incorporating feedback from peers and tutors was a significant part of this transformation. Additionally, having confidence in my creativity and understanding that with hard work, I can create something I am impressed with and proud of.

Tell us about a typical working day.

Honestly it varies. There are days when I wake up feeling super inspired and just want to get on with making, and there are days where it feels like I have no creativity left in me. I’ve found that no good comes from forcing myself into being creative, and so on days like that I will work my way round the hump. I might do more research, go on an inspiration hunt, or even do some doodles to help me get back in the zone. Either way, every day that I’m working, I try and always make a step in the right direction, even if it has not made the biggest dent in the workload.

How did you develop your personal style? Who are your influences?

Developing my personal style has been an up and down journey, but one I hope continues and develops further throughout my practice. When I first started university there was definitely a pressure that i put on myself to establish my style quick, but all that did for me was make me feel like I was making work not for me. I think what really helped me in finding my personal style was just allowing myself to make work that I liked. I would receive and take on feedback from my projects and pick elements that were received well, and ones I enjoyed, to help evolve and progress my illustration style.  

Artist, Clym Evernden has been an inspiration to me, with his perfect balance of spontaneity and sophistication with his style, as well as illustrator, Yuko Shimizu’s richly detailed line work and bright colours. However, I would say my biggest influences on my personal style have been my tutors and peers at AUB, as it was their feedback and advice which really helped in pushing my work and style.

Tell us about your Final Major Project.

My final Major Project is a very personal piece based on the fish and chip shop my dad and his family grew upon in during the late 1960s and 1970s, located on East Street, Bermondsey (still there today!). My piece aims to capture the essence of 1970s London, depicting the era and the sense of community surrounding the shop.  Initially, the aim of my project was to preserve my family’s stories, provide an underlying commentary on the fading Cockney culture, and serve as a dedication to that era. However, as the project progressed, it evolved into a deeply personal journey of appreciating and understanding my family’s roots and upbringing.

If you could work with a dream client, who would it be and why?

My dream client would be Liberty London, more specifically their Christmas advent Callender. I feel as though I would very much enjoy working in high end editorial and packaging, and the Christmas Callender would be such a unique and special project. When I was younger me and my dad would always look round Liberty London round Christmas time, so there is definitely a sentimental element to this dream client.

freyarelfedacey.com

Denisa Ailenei – @pixi4rt

What’s the biggest lesson you’ve learnt being at AUB?

Before coming to AUB, I felt as though working in the art Industry was out of reach for me. Being a student at AUB, surrounded me with like- minded people, provided me with advice from professional illustrators and has aided my artwork into having a more professional and distinctive look.

What made you want to become an illustrator?

I find it very interesting how much illustration fits into everyday life. It’s constantly surrounding you: from the media you consume, the clothes that you express yourself with and what helps brighten the locations you visit. I simply want to be apart of what brings people joy and selfishly, be apart of peoples lives without them particularly knowing.

How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?

I enjoy starting my work on paper as it gives me more freedom to experiment with different materials and allows me to not be as precious with my work, knowing I’ll edit it later. I then take my drawings into procreate and trace over it. I enjoy working in narrative so this tends to be a tedious process when you have to make a range of drawings but it has now made me most confident in creating art.

How did you develop your personal style? Who are your influences?

For the longest, I have struggled finding a personal style that I felt confident in creating, I never felt satisfied and even now, I want to continue to grow. However now, I can truly say I enjoy the work I make and I am more confident when selling myself as an illustrator since I enjoy using feedback to improve my work but also have used a wide range of influences such as Animators and Illustrators such as Victoria Vincent and Zilal Feng.

What direction would you like to take your work post higher education?

I want to further delve into the world of animation, creating short films, music videos and advertising media for apps or products. I also want to create young adult graphic novels since I also enjoy the process of creating a book. So in short, depict ideas and stories in every narrative way possible.

denisaailenei.com

Maisie Barr – @maislecakes

What made you want to become an illustrator?

Throughout school, the only opportunities I had to pursue art were during my GCSEs. I found the Art course to be extremely limiting, as there was an emphasis on drawing realistically that I struggled to enjoy.  I was never allowed to draw digitally during this time, and opportunities for style exploration were next to none. After doing some research, I discovered the world of illustration on social media, which lead me to study at AUB! 

How do you want people to feel when they see your work?

It’s fairly simple – I just want people to feel happy! I’ve seen a lot of online spaces coin the term “dopamine” to describe the trend of bright colours and maximalism, and I’d say that fits my work to a T! There are no hidden meanings in my work – just fun. Modern life is super stressful in a lot of ways, so if I can bring a smile to someone’s face through my illustrations, then I’ve done my job! I want to encourage everyone to get in touch with their inner child, and take some time to do something fun! Who says you need to get rid of “childish” hobbies and interests in adulthood?

How did you develop your personal style? Who are your influences?

Developing my style came as a result of my love for colour and shape language, as well as my interests in childhood nostalgia, food, fashion and pop culture. Charly Clements, Kitty O’Rourke, Robbie Cathro, Elizabeth Olwen and Owen Davey are some of my favourite illustrators! I always get excited when they share new work. Charly in particular has an amazing online class that taught me how to spot trends and refine my style even further.

Tell us about your Final Major Project.

My FMP consists of a collection of work created for various competitions and live briefs, with the intention of putting my work out there and creating quality pieces to add to my portfolio. I entered big competitions such as the Penguin Cover Design Award, as well as smaller, local opportunities – a couple of which I was lucky enough to be selected for! This project allowed me to diversify my portfolio, as it now contains greeting cards, posters and book covers. I’ve had a go at surface design, too! 

What direction would you like to take your work post higher education?

I’d like to diversify the types of ways in which my work can be contextualised. Wallpaper, merchandise, clothing, billboards… there’s so many places I could put my work! I just want to create.

maisiebarr.com

Martin Samways – @leckuth

What’s the biggest lesson you’ve learnt being at AUB?

One piece of advice that stuck with me the most from our tutors was that they wished students wouldn’t ‘hold back’ so much sometimes. When I started at AUB, I wanted to use the opportunity of an academic space that gave me free reign to find a way to combine the art I had been making for secondary school, that my family and teachers would see, with the art I was making primarily for the internet, which felt like an entire aspect of my life and the culture around me that I hadn’t had the space or time to take seriously in my art.
When you’re no longer being given specific criteria and are allowed to create essentially whatever you want, it’s easier to hold back and play it safe, but I found that listening in to that feeling of a ‘tipping point’ when you begin to make art you feel unsure or embarrassed about, is usually where something interesting happens.

That and take the time you think you’re going to need to meet a deadline and double it.

How do you go about starting a piece of work? Does it start as a pencil drawing? What is your process?

My work almost always starts via looking at some mood boards I’ve made for different loose ideas I’ve had in mind like a certain project or a certain way of drawing faces I’d like to incorporate. After this it’s usually a process of loose pencil sketches in a sketchbook, followed by sketches of  those photos on my tablet that I can manipulate. Sometimes it stops there and I clean off the drawing on the tablet or for more elaborate projects/painting I take it onto my desktop and finish it there.

How do you want people to feel when they see your work?

I’ve hoped that people can feel connected or empathetic towards the ‘lower plane’ my drawings tend to sit on. They are cartoonish but they also to me they feel injected with acknowledgement of the real world that they come from. One of my favourite comments I’ve had on my art is that it feels like it’s from the future and the past at the same time. There is the reality of things and our beliefs sit on top of it, in the same way the future and the past can only exist through the present.

How did you develop your personal style? Who are your influences?

I think where I’m at now has a lot to do with having spent so much time online, but I’m ready to celebrate that while also wanting to celebrate the rest of the world around it and merge the two. I’ve learnt a lot from traditional painting, especially during A-Levels, I looked at Jamie Wyeth and William Blake a lot. The atmosphere of certain filmmakers like Jan Švankmajer and Terry Gilliam, along with Dave McKean’s work for Mirrormask, all had a big impact on me for the way that whimsical artistic touch can still feel very heavily real. As for illustration, Alvin Fai was a big reason I started taking illustration as a discipline more seriously.

What direction would you like to take your work post higher education?

I’m definitely planning to take a step back now that I’m off the railroad of education and delve a bit further into 2D & 3D techniques I’ve been trying to develop. I think that could mean some more videos and more elaborate drawings/paintings now that I’ve got that kind of time and freedom but either way it’s time now to really assess what it is I actually want to make.

leckuth.cargo.site

Arthur Gnivko – @gnivko_art

What’s the biggest lesson you’ve learnt being at AUB?

I have learnt that personal style doesnt always come naturally. It takes initiative, exploration and experimentation to shape your work into what you envision. After I realised what kind of illustrator I wanted to be, I found my visual language began to truly take shape.

How did you develop your personal style? Who are your influences?

My visual language began to take shape after 2nd year, where I dedicated more time into developing my technical and gestural skills, as well as looking more critically at what artists inspire me and why. What did these artists have in common that drew me to them? Illustrators such as Claire Scully, Will Kirkby, and Bodie H each have such distinctive styles, with a similar monoweighted line quality, attention to hatching and contour lines. Understanding what kind of art I enjoy and why has helped me shape my work in the way I have always wanted.

Tell us about your Final Major Project.

My Final Major Project was a booklet of illustrated Kashubian mythologies, based on Leon Heyke’s Podania Kaszubskie. The concept began during my Pre Major Project, where Kashubian imagery was a significant influence. From there, I began to research Kashubian mythology further, and found very little illustrations on the subject compared to other Slavic myths. Being a quarter Kashubian myself, I felt it was a great oppertunitiy to learn about this part of my heritage and draw interest towards Kashubian culture.

Where do you see yourself in a year’s time?

Currently, I plan on attending a Creative Writing Masters at Brighton University in order to improve my understanding of narrative which I will be combining with my illustrative practice. While I am attending my Masters, I wil also be focusing on increasing my online presence and working as a free lance Illustrator.

What advice would you give students starting the course in September?

You are what you eat. Consume the kind of creative work you hope to produce some day and take an analytical look on some of your biggest inspirations. I highly recommend reading ‘Steal Like An Artist’ by Austin Kleon for any creative.

arthurgnivko.com

So Young is a new music magazine and our new issue is out now. Buy in print here. Subscribe here. Read the digital edition below.

The post So Young Selects The AUB GradList Illustrators 2024 appeared first on So Young Magazine.

We were fairly clueless when it came to getting the work ready for print when we first started ten years ago but the team at EWZ patiently walked us through the process and more or less gave us a free Indesign tutorial along the way. By issue three we were getting it right first time which they appreciated as there hard work with us had paid off. The print process now consists of a few emails back and forth and before we know it the boxes are on our doorstep ready for launch day. We caught up with the team about their ethos and the future of independent publishing.

You seem to really care about the products you are printing and enjoy being a part of the various creative projects you bring into the world. Could you explain Ex Why Zed’s ethos?

Our ethos at Ex Why Zed is ‘We Help Transform Your Ideas Into Print’ and we follow this in everything we do. A big percentage of people who print with us have never printed anything before so we’re super keen to give them all the help they need to make their journey smooth and enjoyable.

We do enjoy being part of creative projects and it’s a real buzz when a PDF lands in our inbox from a band, artist or creative designer that we’re actually fans of. We’ve been lucky to print for Gallows, Beans on Toast, George Ezra, CRi, Municipal Waste, NO8NOFACE…still waiting for that Liam Gallagher order to arrive!

You put a lot of care and attention into making sure your clients get their artwork set up to the best standard for print and you aren’t just out to make a quick buck. Does this come from a personal experience of working with printers in the past who just don’t care?

Absolutely, that definitely had an influence. We actively aim to set ourselves apart from the rest of the industry and have the time, patience and knowledge to help people prepare their files, offer advice and show them all the options available. Pre-Lockdown we had just launched our long-form video series and have kept adding to that over the years with loads of Showcase Snippet videos that are around 2 minutes long giving a great insight into what zine printing options are available.

Genuinely, if you’ve never printed anything before then it probably is a challenge to understand all the options but we’ve made it super easy. We’ve just launched our Print Journey which is a step-by-step route that helps people advance their project from an initial idea to a printed publication. There are illustrated guides, engaging videos and packed blog posts at each stage to help make informed choices, then return to the Journey as the reader moves from idea to quote, through file set-up and finally placing an order.

What are some of your favourite projects you’ve printed recently?

Four jobs that jump out and are relevant to the So Young audience are First Three, No Flash by Michael Augustini – a timeless photography book of iconic images taken from down the front at live shows. Bosh Magazine is an illustration and creative writing zine which actively encourages its audience to read in a safe cosy space away from the dark, disconnected, damp quagmire of social media. Lastly, we’ve completed some wire stitched zine printing to accompany the George Ezra album Goldrush Kid and a perfect bound, Limited Edition Zine to accompany the new CRi ‘Miracles’ album. Nice additional items to add in to a boxset for big fans of the artists or to sell as merch on tour.
If your readers want to see more, grab a drink of choice and dive into the Ex Why Zed Portfolio which is packed with almost 500 case studies. Not the CGI, made-up nonsense that the other sites have but actual, real-life jobs we’ve printed

You must print a lot of Arts University Final Major Projects and End of Year Show Catalogues, what is that experience like and do you get the chance to check out many of the shows in person?

That is one of the most rewarding times of the year because the students are super excited to get their final bit of University work designed, printed and submitted before they embark on the reality of the big, wide, world. Although they only print a handful of copies, the work is creative and cutting edge fresh from the new techniques they’ve learnt over the three years at College. We’re seeing a lot more hardback book printing as Final Major Projects and recently did one called Northumbria from a Photographer called Tom Quibell which photographically followed the path of the River Tyne. Each page had a song lyric opposite the image and the book ends on the beach with the opening verse from Sam Fender’s Seventeen Going Under.

It is great when people we printed for as students, re-appear years later in a new role at an agency or larger company.

How do you feel the rise of online publishing and apps like Instagram over the last few years has affected independent publishing and people wanting to print their work as a way of distribution when they can reach more people online?

This is an interesting question because the last time we spoke, Instagram was in its infancy and tik tok was still just a noise your clock made. We weren’t first to the party but soon realised that with both being visual channels they were good vehicles to engage with an audience and showcase what can be achieved in print.

Printing books as a distraction to online matter is definitely a growing theme with publications including editorial and content that specifically address this. It is a big achievement if you can get someone to focus on your new publication for half an hour and enjoy that moment of turning the page to reveal what’s coming next…as opposed to manically scrolling until their retinas go on permanent holiday.

That said, a lot of our clients have built an online presence which has then given them the confidence and following to be able to launch an offline publication. There is a distinct crossover into the music industry too with vinyl having a resurgence.

Got a project in the pipeline? We look forward to hearing from you!

exwhyzed.com

So Young is a new music magazine and the new issue is out now. Buy your print copy here or read the digital edition below.

The post Meet our Printers: Ex Why Zed appeared first on So Young Magazine.

Photo by Lluna Falgas

rabbit has since produced collections for SS23 The Adventure, AW23 Battle and most recently SS24 Lovesick. These have been stocked internationally in some of the most prestigious stores. This year with the support of interns, friends, family and her showroom Awaykin, rabbit has orders from more international stores, dressed one of the hottest bands right now, The Last Dinner Party and has recently been featured in Vogue. We spoke to Sophie ahead of her rabbit party at Strange Brew in Bristol (30th November) where she’ll be kitting out the live acts, Avice Caro, Pem, Mary in the Junkyard and Baby Vanga. rabbit party 1 will also be an exclusive opportunity to get your hands on our very limited edition rabbit x So Young collaboration t-shirt.

The T-Shirt goes live on the So Young shop the day after the event (Friday 1st December).

Photo by Lluna Falgas

Can you explain a little about the narrative and story telling in your work?

The story telling aspect is important to me. I love the idea that I create mythical stories with symbolic animals, plants, and sometimes vegetables to explain something that is happening in my life. Family who needed my support, who supported me, immortalising a night out and people I loved, are all represented in different ways. These are created in reference to film and literature as well. The most recent collection ‘Lovesick’ I focused on a quote from Midsummer Night’s Dream.

‘Before milk white, now purple with love’s wound. Maidens call it love in idleness.’

The quote is about how a white pansy flower is filled with a love potion. ‘Love in idleness’ is the folk name for pansies. This plant is what the naughty pixie Puck uses to cause the wrong people to fall in love in the play. I loved this idea visually as well as feeling it is an accurate explanation to how some love can feel. The flower being bruised purple is illustrated on a bodice as well as pansies featuring throughout the collection. You will see little innocent milk bottles knitted in intarsia stripes along a miniskirt too.

What is your creative process like? From concept to reality…

I like to start by mind mapping about how I am feeling and what visually can explain that. My fashion designing really feels like art because it all must have a meaning that is related to real life. I do also go to vintage stores or markets to source fabrics, buttons, and lace. Pieces I source can take a while to find their place with the handmade ceramic heart shaped buttons I bought three years ago only finding their home in my Lovesick collection that was in Vogue this month.

I go to galleries, gigs, archives, botanical gardens and look through books, memes, and films to then illustrate the natural world that can be hand screen printed onto the fabrics. Then the garment’s shapes are developed from my pattern cutting and sampling referencing films and clothes in my wardrobe. The print and knit patterns are where the most development is happening. Draping is another way of designing I am curious to reconnect with in the coming collection.

Photo by Willow Shields

What’s been the main challenges starting your own brand?

My main challenges are space, money, and time. So everything. I am still working from my small bedroom studio, but dream of moving into a separate studio. I started rabbit by making everything myself down to the printing of the fabric which kept my costs low, but with quantities quickly becoming unmanageable I started production with a small atelier in Somerset.

I often daydream about having a business partner or investor in rabbit and it’s something I would be interested in finding as although I am getting to grips now with my endless spreadsheets and costing; I wish I could spend more of my time designing and creating. I also do all my own PR – reaching out to magazines and of course bands which I adore. Networking and partying seem to go well together but since moving out of London to Bristol I wonder if my brand would grow faster in the capital. Bristol’s slower pace, cool and supportive music scene, and the lovely friends I have made here plus proximity to the ateliers make staying here most appealing for now. However I do wonder how returning to London would affect my brand.

What’s the main inspiration behind your designs?

Every season and piece have a unique story to it but there is a distinct style to rabbit where each garment leads quite seamlessly into the other. The classic empire line dresses are inspired originally from a film, The Virgin Suicides, the off-white floral prom dresses with puffed sleeves and rounded necks proportions were exaggerated into a rabbit staple. Outfits that have a childlike joy of dressing up feeling to them but with a tone of power and darkness is also something I seek to create. Pre-Raphaelite women, sisterhood – whether represented by the friendship in Daisies, a 1960s Czech film, or my own relationships and the meanings of flowers in Flora Symbolica have all been strong inspirations on every collection so far. The anthropomorphic animals from Fantastic Mr Fox and Beatrix Potter are essential reference points too. Adding new tones and focuses keeps the collections fresh but with the same feeling and rabbit stamp.

Photo by Willow Shields

What are some of your earliest memories of fashion growing up, how did that obsession begin?

I was very lucky that my Mum loved making us costumes. So, an early memory includes her making me and my twin Bella squirrel costumes and a cow print hat and matching swing dress. The hat I still wear today. I had a very creative childhood; we drew a lot with our Mum and played crazy imaginative games with our Dad. Memorably him pretending to be a dog with tights on his head. Although this isn’t strictly fashion it gives you an idea of how imagination and clothing were important to us.

Another early memory of fashion was an amazing book called Fairie-aility (which was published in 2002 when I was 5) which was about fairy fashion and clothes. It was filled with photos of incredible dresses made of real pressed flowers. I had the fashion bug from a young age and drew a lot but never really believed that I could ever do it as a career.

When I was doing my A-levels I came across the designer Molly Goddard, this was on Instagram, and that was a game changer in believing there was a space for the world I wanted to create. I loved her street cast models, childlike feminine silhouettes and sweetness that had somewhat of a bizarre macabre undertone. Although my pieces look quite different, and I chose to lean more towards natural fibres of muslin rather than polyester tulle she was my first fashion love. That’s when I gave myself permission to follow my dream.

Where are you looking to take your brand next? How do you want to expand?

I would so love rabbit to explode and one day become a household name like Vivienne Westwood or Alexander McQueen. My main goals when I started rabbit were simply to stock at Dover Street Market, the place that launched by idol Molly Goddard’s career, and to be featured in Vogue. Both dreams have come true so now I feel rabbit is closer to growing into a bigger brand. The way the fashion world works nowadays seems so linked to celebrities wearing your clothes then securing funding awards. Harry Styles launched two big designers right now Harris Reed and then S.S. Daley. I hope I can grow organically with a band such as The Last Dinner Party who I adore. Abi modelled for rabbit just before they blew up in SS23 as well as a couple of months ago for my Lovesick collection SS24. The band continue to wear rabbit for a lot of their shows and we stay in touch. I want to take the brand to international magazines, more stores and more direct clients! Also I really hope to do some collaborations with larger fashion brands.

I love creating all the high fashion catwalk pieces, this is the art that I was originally drawn to, but I am also interested and excited to bring more affordable and wearable pieces to rabbit. My little muslin scarves have that essence of rabbit for every day. There will be some available to buy at the upcoming show and one day I will list them on my website – they always sell out so quickly on my Instagram stories it has been impossible to even list them!

Photo by Lluna Falgas

SS24 lookbook make up by Bea Sloss

Is there a brand in particular you’d like to collaborate with or design for?

There are so many amazing brands I would love to work with, and I have had the pleasure of working with Story MFG whose comfy and planet loving designs plus sustainable credentials are a massive inspiration to me. Our collab comes out in 2024! For future collabs I would be honoured to work with any heritage fashion house in Paris, that would be another dream come true. Dior stands out to me because of the fantasy of it all. There is romance, myths, it is forward thinking yet classic and of course internationally renowned. Working with a house like Dior I would have access to the best craftspeople in the world to bring alive my ideas, a very different world to my bedroom studio. There is a punk attitude to rabbit and Westwood is another brand I adore. Even though my designs are cute, you will find rabbits holding knives in a few of my prints. Vivienne Westwood dressing the Sex Pistols and growing with their rise to fame is why I have made it my mission to dress the bands I love. Anyone who wears a rabbit garment should feel powerful, a kind of dishevelled rock princess, transformed and transported.

Please could you tell us a little about the design you’ve used for our t-shirt collaboration?

I wanted to use this collab to create something that encapsulated rabbit so naturally I have a protagonist girl wearing a full rabbit outfit under moonlight. The illustration has a young woman breastfeeding a rabbit at the centre. This image was inspired by a meme I came across of a girl breastfeeding a lamb. I hadn’t yet explored a rabbit baby image, so the suckling black hare was satisfying to create. I really like the way it brings up lots of different emotions in me. It is at once concerning, beautiful and a little sexy and I’m interested to see what people think. As this is a limited run, I thought I could try something slightly shocking. The little mouse is from Beatrix Potter and features in the Lovesick prints. It simply is just looking up at the world, stepping back and observing what is happening in life. Bats are another animal I adore and were prevalent in my AW23 Battle collection. Bats for me are a symbol of guidance during a dark time. If there is an elderly or unwell bat which cannot leave their home to feed; the community shares their food and makes sure to look after them. They are very caring creatures. Finally, the moon with the sliver of cloud refers to a scene in ‘Un Chien Andalou’ a film written by Dali and Buñuel where it cuts from this image to someone’s eye being sliced with a knife. This is the kind of secret dark references I enjoy having in my work that makes the sweetness feel more grounded in the reality of the bizarre world we live in. Thank you for requesting this collab and I hope a lot of people are as pleased with the design as I am.

You’re embedded within the music scenes we cover at So Young, putting on your own gigs and shows to accompany your collections. How does music influence your work? Why do you pair live music with your clothing launches?

I wanted more people to feel connected with high fashion. It is a world that is so exclusive and I wanted it to be more open. Attending folk, indie and punk gigs and festivals are my favourite ways to reset and feel alive. I had the honour of sitting once front row at a high fashion brand’s show as an intern as someone important didn’t show up and they needed a spot filled! The adrenaline from the loud music stuck with me and I felt how important music was to setting the tone of a show. Live music creates an inclusive environment in a way that fashion has never managed. Anyone can come to a gig. I wanted an environment where everyone can feel comfortable.

Although I adore live music as a celebration and way to share rabbit collections, I spend a lot of my time designing in silence or with forest sounds. I need it to focus and tap into my feelings. I can be inspired by a performer’s dress on and off stage, on album covers or in press shots. I always look to my twin Bella, and friends such as Eadie of K.U.M and Arthur of Spinny Nights for recommendations and to the bands who are around me. One day I love the idea of having a rabbit stage at a music festival organised with the support of these people. Musicians are people I look up to and as performers they are the perfect gateway to give my work the voices and presence they need.

What can we expect from the rabbit party in Bristol at the end of the month?

I am so delighted to be throwing my first rabbit party! I love the catwalk shows, we have so much fun, so continuing to showcase the clothes in the world they belong, uplifting new artists and seeing friends did not need to be restricted to the London Fashion Week timetable or even to bringing out new collections.

You can expect everything you would from a rabbit show but without the catwalk. As we are off season, I want to note rabbit parties are not to be the same as rabbit shows. You will be met with a satin ribbon wrist band as you enter the venue and each entry counts as a free raffle ticket to win one of the sought after vintage printed tees. The venue will be decorated with art, flowers, and ribbons. There will be off- duty models/ friends wearing rabbit throughout the crowd as well as all the performers wearing rabbit while they play. As you enter I am showcasing the animations created by Tildy Mayhew and Summer Morrison from the lovesick catwalk as well as a brand new comissioned animation by Isabella Josephine Leon following these showcases then performances will start.

Avice Caro opens the show with her angelic voice and ethereal folk synth sounds, Avice modelled and performed in AW23 and even has a dress named after her. She is an important rabbit muse! Next we welcome the return of by Pem whose husky indie pop was a favourite from my first catwalk show in 2022. Then newcomer to the rabbit party is Mary in the Junkyard who promises to captivate with chaos rock. I was convinced I had to collaborate with them when I heard the emerging band playing on BBC radio one while I was driving back from a trip away. I’m excited for them to grace the stage. Finally, Baby Vanga whose magnetic psychedelic sound had the crowd of AW23 in bits. I am so delighted to have the return of rabbit favourites to launch my hometown rabbit parties. I do hope that the sell-out night I experienced at the George Tavern in London this September will be echoed in the new larger Strange Brew venue in Bristol. There will also be a stand which I will man through the night where you can purchase the rabbit merch including the limited exclusive So Young collab tee!

See you there and dress up if you dare.

rabbit party 1 takes place at Strange Brew in Bristol on 30th November

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