Chronological Blog Posts

PERCIVAL for TRAIDremade

As a project for Autumn Winter 2014, Percival collaborated with the clothing charity Traid to make a special line of products in support of their work.  The mini-collection includes the Percival pea coat cut from meltons and camel cashmere, a selection of check shirts in soft brushed cotton, some outershirts in block colours and checks, slim-cut trousers in our unique fit and fine wool unstructured slim-cut blazers.  All items are manufactured in the UK with reclaimed textiles donated to TRAID.

When I visited TRAID’s warehouse, I was excited to discover the high quality of the fabrics that had been donated.  It made sense to match our design approach to TRAID’s resources.  At Percival, we build quality and longevity into the design of a garment, intending for it to be worn season after season.  This itself means there should be a reduction in waste; using waste material in the first place extends the idea.

Percival for TRAIDremade

Percival for TRAIDremade BlazerPercival for TRAIDremade OutershirtPercival for TRAIDremade Dark Grey Check BlazerPercival for TRAIDremade Classic ShirtPercival for TRAIDremade Classic Shirt

Image Credits:
Photography: Sam Christmas     |    Models: Bethany Harper Walsh, Mark Thompson, Sam Turrell, Luke Waller

Bethany wears pieces from a women’s range I designed “Olivia Hegarty for TRAIDremade”.  With thanks to Bella and Matt for house-boat location.

LUIGI ONTANI – Serpentine Marathon 2010

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I worked with il maestro Signor Ontani on the costumes for this performance piece.  It took the form of a procession from the Serpentine Gallery to an oboe-accompanied tableau vivant at the Royal Geographical Society.  The papier maché masks were hand-made in Italy.  Each masked character represented a literary or art historical figure such as Aubrey Beardsley, Virginia Woolf, Francis Bacon, Reynolds via Gainsborough portraits.. references to references.

Costume selection help from Kasia Maciejowska, Pascale Berthier and Cerith Wyn-Evans!!

With thanks to Vanessa Boni and Nicola Lees.

TO SEE THE NEED TO SEE

final-shoe

Lime wood 26cm x 9.5cm x 13cm; cotton lashing

The ultimate sustainable approach to design is to prioritise the potential longevity of the designed item and consider its later maintenance as a key part of its essence.  The features of this object are reminiscent of those found on a wooden boat. This draws attention to the effort and passion with which a boatowner cares for their vessel.  Ownership in this sense does not imply passive consumption. Furthermore, an engaged relation of labour constitutes part of the enjoyment of such possession.

Displayed at the Re-Dress exhibition at Dún Laoghaire Festival of World Cultures July 2010.

Thanks to Chris Pendrich for wood carving mentorship.

TRIUMPH OF THE WILL

triumphofthewill3
The Centre of the Universe present “Triumph of the Will“
a group exhibition curated by Catherine Borra, Gedvile Bunikyte, Olivia Hegarty & Matthew Stone

14th October – 1st November 2009

Featuring works by:

James Balmforth
Gareth Cadwallader
David Ferrando Giraut
Lewis Ronald
Boo Saville
Matthew Stone
SuperBlu

The group exhibition “Triumph of the Will“ emerges from a series of complex questions that begin with Leni Reifenstahl‘s influential 1934 film of the same title. The film was commissioned and funded by Hitler and portrays the euphoric Nazi rise to power. The filming used 90 camera-men who captured over 1 million individuals. It is regarded as a landmark piece of cinema both technically and for its epic renderings of the united body-mass and their messianic leader. Despite Reifenstahl‘s later claims to the contrary, the film exists in collective consciousness as being the “most successful, most purely propagandistic film ever made.“ (Susan Sontag).

How do we understand the aesthetic legacy of this event?

Does any aesthetic embody and bear responsibility for the final solutions of ideology?

In the contexts of both the film and the works in this show, what is the power of the individuals depicted and those implicated as audience?

The Centre of the Universe is a nomadic art space.

THE ENDEAVOUR TOWARDS

digital print on silk, 83cm x 110xm

digital print on silk, 83cm x 110xm


The End of Something… a collection of reflections on the global crisis

“If the World came to an end how would you imagine starting over?
What is the best thing about having less work, less money and
more time? How would you best spend your (Free*) time?

How can we re-orientate ourselves in a changing world? What do we hope for the future? A moment of recession marks a deceleration and slowing down, and an opening up to a time of reflection, reservation, and conservation. In a state of lull is there opportunity forge new values, forms of solidarity, closer familial ties, and healthier modes of consumption? Is there value within a moment of quietude for much needed reflection?”

The End of Something project at Volume, August 2009.
114-116 Amersham Vale, Deptford Police Station, New Cross, London SE14 6LG