Walking into Vintage at Goodwood you can tell this isn’t going to be any ordinary festival. For starters, you make your entrance via a red carpet. And if that isn’t enough there’s the real vintage high street complete with John Lewis, traditional pub and policemen chasing naughty schoolboys. You’ll also notice that on the wall of fame, where the festival’s best dressed can hope to find their photograph, 1950s style skirt suits, tuxedos, and elaborately coiffed hair outnumber the denim-shorts-and-wellies uniform of most festivals ten to one.� This is because Vintage at Goodwood is the brainchild of two entrepreneurial designers, Gerardine Hemingway MBE and Wayne Hemingway MBE, co-owners of ‘Britain’s premier collection of cultural artefacts’, and Lord March, the brains behind Goodwood Festival of Speed and Goodwood Revival – and, as anyone who has ever been to one of these events knows, he certainly doesn’t do things by halves.

It’s hard to describe the atmosphere of the festival as there’s just so much going on. Dance troop performances spring up every now and then in front of shops and on the red carpet. If it’s raining, you can escape by watching Bugsy Malone in the cinema or grab a bite to eat in the Tanqueray Torch Club. There’s the huge red Pimm’s bus at one side of the field, and the 80s Audi Quattro Warehouse club at the other. Kids could the first day, mess around on the water bed – quite simply a giant (think swimming pool sized) orange water bed plonked next to the Leisure dome – or be entertained by the redcoats in the 50s style Butlins. You could enjoy a makeover in the Beauty Box salon (if you didn’t mind queuing out the door) or watch leather clad bikers zoom around the Wall of Death.

There was, of course, also the music. You could boogie on down to the best of British funk, soul and reggae in the Soul Casino, or enjoy a pint and have a go at the karaoke in the traditional pub. On the main stage bands like the Faces and the Buzzcocks wowed audiences with their sets and remarkable ability to keep their hair despite a good few decades of rock-and-roll lifestyle.

The defining feature of Vintage at Goodwood was, however, the fashion and design. You simply couldn’t go without dressing up. The attention to detail was fantastic – each area was compiled by an expert curator dedicated to their era (see videos here). Everyone entered into the spirit of the event – from stallholders who managed three days of mud in court shoes, to festival goers who managed to pull together immaculate outfits each day in their soggy tents! Queuing for my free makeover, I got chatting to an Adam Ant – also waiting to have his makeup done. Elaborately dressed, he worried that his outfit wasn’t quite up to scratch. That’s how high the standards were. However, the festival wasn’t snobbish – disco studs in joke shop wigs and medallions rubbed shoulders with ladies in vintage Chanel suits and the exact shade of lipstick that was popular in 1955. It retained the ultimately eclectic, welcoming vibe that a festival has – making Vintage accessible for those just out for a laugh and a go in the roller disco, as well as keeping the dedicated vintage lovers more than satisfied.

By Amy Sandiford-Watts

There’s plenty of ‘knitters’ out there and more and more knitting groups popping up around Brighton. When I think of knitting groups I think of frumpy old ladies sitting round with their knitting needles, drinking tea and gossiping! My research for The Brighton Collective put paid to my pre-conceived generalisations when I found out about Tess Robinson-Lane who specialises in retro designs. Her knitwear has been commissioned for film and TV!

For me the thought of retro knitwear conjures up images of cool old fashioned patterns and magazine covers and maybe retro alpine knits, tank tops with bold diamond patterns and ‘Christmas Jumpers’ featuring reindeers! Read on for my interview with Tess:

What inspires you?

I love textiles from the 60′s and 70′s and like to use the images and styles in my knits. I also like the use of fashion trends in home textiles, such as the skull and crossbones and space invaders.

How did you learn to knit?

My mother taught me to handknit when I was about 10 years old, I then learnt machine knitting at college.

What do you like to make?

I have been knitting for so long know that I can take on most things! I like to make homewares; cushions, throws, baby blankets and tea cosies!

How did you end up making items for film & TV?

A friend of mine works in wardrobe for TV and got me involved. I have produced scarves for the Golden Compass, children’s jumpers for the Ember City, 70′s jumpers for a scottish film, and batwing jumpers for Ashes to Ashes.

How much do your pieces sell for?

Cushions start @ £35.00 each, scarves @ £25.00 each, babies blankets @ £50.00 each.

What is your background?

I am originally from London and have worked in fashion and visual display for many years. I moved to Brighton with my partner and our two pugs two years ago and absolutely love it! I am currently still doing the dreaded daily commute back to London!

Do you have qualifications in this field?

I learnt to machine knitting at Morley College and completed a city & guilds in machine knitting.

By Helen Ruff

One of the perks of being a model is meeting some amazing people. Yes it’s true, the fashion world isn’t just full of Devils that wear Prada or Willamena Slaters. A couple of weeks a go, I modelled in the Mad Hatter Fashion show and walked for Chrissie of Curve Couture. On my first fitting I was given a corset that to me looked perfect however, Chrissie’s understanding of how corsets should work allowed her to fit me with a new corset, one that showed of my body perfectly.

After the show I got in contact with the wonderful designers again so that I could write an article about her. Her answers in the interview were so perfect I didn’t want to tamper with them.

How would you describe your style/collection?

My style is all about the curves of the feminine form. I think the hourglass silhouette is the most beautiful, and my designing reflects its iconic status in my design language. Structure, clean lines and sumptuous hand finishing and detailing are core components of my work. But above all it’s sexy and sassy.

Where do you see your collection progressing to?

I don’t see my output in terms of collections, as currently all my work is bespoke only. I love the fact that I deal directly with each client as it’s really rewarding to bring their perfect dream to life. I can envisage that part of my collection will become a diffusion range collection to be put into exclusive fashion boutiques.

What is your fashion background?

Actually I am almost completely self taught. My background training is in fine art, and I think that individual craftsmanship of every article is very important. I fell in love with corsets in my late teens, and worked for several fabric retailers whilst teaching myself sewing and pattern cutting. During that time I met Mr Pearl, who encouraged me to study the art of corsetry, and after visiting him in Paris I was at the beginning of my own love affair with fashion.

When did you know you wanted to be in fashion?

When I was young I was very interested in fashion and drawing, I remember watching the wedding of Prince Charles and Diana and just staring at her massive silk dress. But my interest in actually being involved in fashion didn’t really develop until I believed my skill talent and passion could get me there.

Who were your style influences growing up?

I was totally into alternative youth culture, I loved Goth and New Romantic style. But I think my ultimate icon was Madonna, it wasn’t just her clothes, it was her attitude – I loved that. In terms of fashion designers I am greatly influenced by Charles Frederick Worth, William Travilla and the grandiose Thierry Mugler.

If you could dress anyone who would it be?

Wow, there are so many amazing women I would like to dress. I would be overjoyed if Dita Von Teese, Madonna or Siouxie Sioux were wearing my clothes.

What’s your biggest dream ?

I guess my ultimate dream is to have lived my life making beautiful clothes and be constantly challenged with new skills and techniques. It would be amazing to see my work enter the international fashion arena and be recognised. If I was totally in dreamland though I once had a dream I designed the showgirl costumes in a silver screen Hollywood film of the 1930′s, that was a good one….

http://livlaceandlust.blogspot.com/

by Olivia Lewis

My name is Helen Ruff.

It’s a horrendous name that I’ve been stuck with since birth. I blame my mother for marrying a man with such a ridiculous name.

A family friend used to try and make me feel better by saying it made her think of the ‘Ruffs’ they wore in Elizabethan days. Wikipedia explains: ‘A ruff is an item of clothing worn from the mid-sixteenth century to the mid-seventeenth century. The ruff evolved from the small fabric ruffle at the drawstring neck of the shirt or chemise. They served as changeable pieces of cloth that could themselves be laundered while keeping the wearer’s doublet from becoming soiled at the neckline’.

It didn’t stop the childish taunts.

When I discovered Esther May Springett I was delighted – someone had brought this unusual, old fashioned, untrendy item into the 21^st century!

Esther runs a Folksy shop called Cuffs & Ruffs. I was a teensy tiny bit disappointed when I discovered she didn’t actually design Ruffs to be worn around the neck but I guess – even though this is Brighton and anything goes – walking round in a frilly Ruff might not quite be the thing! Not just yet anyway…

Cuffs on the other hand are another thing entirely. What a way to set of an outfit. The attention to detail and fabrics used are really very impressive – funky, modern, colourful.

I like the green floral cuff, it’s very cute and ‘vintage’. The description explains: ‘Floral cotton cuff with a fresh yellow ruff and green felt trim. Pearly buttons fasten at one side.’ – oh so that’s where the Ruff comes in…

All the buttons Esther uses are vintage and the fabrics include cotton, linen, tweed and tartan.

The prices, £14.50 for the Blue Bicycle ‘kitsch’ cuff, include lovely wrapping, packaging and postage.

I can see these being worn in the summer with a cute pleated skirt and waistcoat.

So if you want to get in on the action and make the term ‘Ruff’ cool again check out Esther’s Folksy shop http://www.folksy.com/shops/cuffsandruffs

By Helen Ruff

Organic evolution - “the sequence of events involved in the evolutionary development of a species”. Well you don’t get much more organic than this; over a roast dinner in The Star and Sailor as CUB was born. That CUB is CUBculture, who have taken over York Studios, 28 York Place, London Road and if you have passed by recently you have probably felt the good vibes and welcoming aura oozing out.

Still a CUB in it’s own right, Steph had been picking Fox’s (a friend of a friend) brains about screen printing t-shirts for Pride only a short memory away in Aug 2009! From that CUB was formed as a mixture of their names Steph Young / Fox Fisher. Since then the creativity has been flowing, with both in need of a studio, one became available upstairs at York Place studios and when the gallery downstairs became available and everything fell into place naturally.

Selling an eclectic mix of lovingly produced limited edition screen prints, oils and hand made art and wears, York Place is a hub of activity. “Fox and Steph play tunes, project visuals and hold regular parties and promotional events including the Golden Trolley Dash around town with the support of Kate Kamikaze and AMiTY to create awareness while generally updating the shop whilst doing graphic design and illustration for the masses.”

Steph’s work features burlesque women (with her newest edition becoming 3D with added feathers, lace and sequins), muscle men and sexy 1950’s original movie stars. Hand made one off frames with French poety and black and white photos form a time once remembered. Fox’s creations are a mixture of antique books, hand drawings, screen prints and finished with hand embroidery “to give them more soul”. Other contributing artists include Kate Kamikaze, Jack Nash, Rhys Wootton and not forgetting the god mother of screen prints – Jane Sampson.

Wanting to keep the quality high yet the art accessible to all that love art, the ‘Around-a-Pound’ was born, a specially made range of products from £1 to £10 max! Displayed in a gold shopping trolley with a giant pound coin, this shows the convivial nature York Studios now has. Items include moulded clay ‘friends’ (mine is named Ruby), ‘Artist-in-a-Box’ (including human hair) specially made by Kate Kamikaze and much more. A card stall has also been produced ranging form £2.50-£6. “Our aim to to not seclude any art lover from a gift, be it for themselves or a loved one”. A visit is recommended sooner rather than later with such affordable prices I predict these special pieces won’t be around for very long!

The launch party on March 27^th looked a day of madness and mayhem with live mannequins and creepy clowns, but worry if you missed it as they are hoping to have events at least once a month. The next one being April 17^th – an excuse for Steph to have a birthday party while also informing CUB’s loyal following of events during the May festival and their new soon to be online store! What more reason do you need for a party!

If you can’t wait that long there are lots of things happening over Easter including a Golden Trolley Dash on Friday 2^nd April starting at 2.30pm from the North Laines and a 10% discount on art with a special flyer – look out for that trolley. If you would like to take part in the CUB Golden Trolley Dash please visit the CUB Gallery and they will arrange – anything goes (so long as it fits in a trolley!). May – June sees the gallery taken over by a ‘Swifty’ newsagents. CUBculture will be having a big presence with spaces upstairs and the online shop. The best part being that means an even bigger launch party again in June when Steph and Fox take over the Gallery full time for the foreseeable future – exciting times.

I’d suggest just popping in to say hi, have a chat with the friendly folk and take a look at the great work. I bet your first visit won’t be your last.

Visit blog (soon to be shop) online at ‘www.CUBculture.com’

Join the Facebook Group ‘York Place Studios’ for all the lastest events and updates.

Email ‘info@cubculture’ for info or to get involved

Written by Lucy Popps

A magical place full of big petticoats, happiness, My Little Pony, peppermint tea and Brighton beach, you are welcomed into Sarah’s World but only if you “are nice & like to skip”. Sarah Walpole is a maker of little things with big feelings, her main creations being artwork and Nice things by Topsy, her clothing range.

“Why shouldn’t you put pink with red?” asks Sarah, as breaking the rules is the ethos behind Nice things by Topsy, clothes made from recycled donations from friends or charity shop finds. Mixing patterns, colours and textures and creating something new from tired items, the range is bright and vivacious. This represents Sarah’s playful side, nicknamed ‘Topsy’ by her dad as a child for her love of the Topsy & Tim books, and allows a different sort of outlet, a physical product. These are purely aesthetic and a way of being creative and productive without the emotional attachment held with her art. Furthermore, having this materialistic release has allowed Sarah’s art to develop, becoming more delicate.

Sarah is influenced by amazing women including Vivienne Westwood and Tracey Emin, and shares Emin’s view that art is autobiographical, a piece of oneself. Using mixed media, the pieces are emotional and her background studying Art and Psychology shines through. Explaining how texture is usually the origin of the paintings, Sarah says she begins with “the gnarls in the wood, pulled threads in the cotton… but almost all of the time, I am trying to express a thought or happening”. Titles such as ‘Surviving Edith’ and ‘full up in love’ allow you to associate with the given emotion even more and penetrate the message further.

Another area of Sarah’s World is her merchandising position at New Look. Approaching this like a painting, considering composition and colour, Sarah laughs revealing that her ‘odd’ taste works especially well, resulting in eye catching window displays.

How lovely it was to be allowed an insight into this enchanting place, Sarah’s future plans are to continue creating, drawing influences from and appreciating everyday tasks and enjoying life!

Nice things by Topsy is available exclusively from Oxfam, North St., or alternatively visit Sarah by appointment to her North Laine studio, see www.sarahwalpole.co.uk for more details.

By Lucy Popps

Stepping into one of Alison Hermon’s living room is like stepping through the rabbit hole; in a darkened room, dresses hover, lit from within, eerily still as birdsong plays gently in the background. This are, of course, not Alison’s usual living arrangements: the room is set up to exhibit Melodies Unheard, one of many collections of beautiful dresses that she creates entirely from recycled plastics, including the humble supermarket carrier bag.

If you haven’t seen her work, the mention of plastic bags may bring awful Blue Peter sticky-tape-and-loo-roll type creations to mind. However, I can assure you that this is a million miles away from the enchanting, almost ethereal beauty of Alison’s delicate pieces.

Alison has been working with plastic since attending a weekend course on experimental textiles, where she began using melting to create forms. Her initial (unsuccessful) attempts involved melting plastics onto the body, until she had a ‘Eureka!’ moment whilst looking at one of the bin liners she was working with: it already looked very much like a piece of clothing, so why not start from there?

Since then Alison has worked with plastics from varied sources: supermarkets, florists and even nappy sacks have provided material for her works. Alison isn’t put off by her materials’ humble beginnings, “In a way, the lowlier the source, the more challenging the transformation!” she says. Alison uses a domestic iron to melt together different plastics for her creations, and draws on her own personal experiences for inspiration, turning the everyday into something remarkable.

The titles of her exhibitions – ‘Re-Imagined Worlds’, ‘Frozen Memories’ – give you an idea of what Alison is about. She works with her head placed firmly in the past, conjuring scenes and stories from moments in her life. Inspired by memories and her imagination, her work examines the memories and identities that clothes can hold and ‘acts as a metaphor for recycling thoughts as well as ideas and styles linked to particular personal experiences’.

In the fast paced world of fashion last season’s frocks are forgotten before you can say ‘new collection’ it’s refreshing to be reminded that many of our purchases do leave us with more than just an empty bank account and a lingering feeling of regret. Alison reminds us that clothes are not only things to be acquired and exhibited, but also invaluable artefacts from our own personal histories – after all, no matter what momentous occasion it was, chances are you were wearing something.

Contact Alison via her website at www.alisonhermon.co.uk .

by Amy Sandiford-Watts

Kate Jenkins founded her company ‘Cardigan’ in 2003. A Brighton graduate of fashion and business studies, Kate worked for the likes of Donna Karan and Missoni, before deciding to specialise in knitwear. Taking inspiration from the things that amuse her on a day to day basis, Kate has created a quirky, fun and very successful company. Cardigan offers both fashion and art, all within the realm of wool!

Cardigan is home to many wonderful knitted fashion items, such as gorgeous knitted scarfs adorned with crocheted flowers, stunning multicoloured ponchos and daywear that is classic but with an edge. On the art side of things, one may wonder how art is created from wool. In this case, most of Kate’s pieces are crocheted, and are truly spectacular. I found Cardigan’s studio tucked away around the corner from my workplace, and it is a wonderful and magical grotto of woollen creations! If you are in the area, I recommend you pay this enchanting place a visit.

Most of the fashion and accessories are machine knitted, but all of the crocheted art is created by hand. One of my personal favourites is the woollen seagull, which epitomizes Brighton perfectly. Kate tells me that this was created initially for a Brighton themed pop up shop window display in 2009. Also among the crocheted art is the likes of the large ‘Fish and Chips’, which took 3 weeks to make! There are also ‘Soft Smokes’ and ‘Kate’s Cafe’ collections, humorous reinventions of British products. You really have to see these wonderful creations to appreciate the detail and care that goes into them.

You can browse through examples of Kate’s fashion and art on www.cardigan.ltd.uk or visit her studio shop in Kemptown. Cardigan also take commissions if you are after something extra special or unusual, as well as producing greeting cards, featuring crocheted art pieces which are available from Paperchase, WHSmith and hundreds of stationers over the UK.

Any Brightonians who are interested in Cardigan can take a closer look at the ‘Artists Open House’ trail as part of the Brighton Festival in May, where Kate will be creating lots of knitted goodies for the theme of ‘Love’. There is also a solo show planned at the Rebecca Hossack Gallery entitled ‘Come Dine With Kate’ which starts 1^st July- 24^th July.

by Hannah Bradbury

With all the talk in the Media about Meow Meow someone had to take it to a fashion level.

What do Kate Moss and North St Oxfam have in common? They’ll both be receiving the hottest new samples from London Fashion Week of course.

With a reputation for being radical, and many a designer bargain, it’s really no surprise that the North St Oxfam has been selected to collect samples from designers showing at London Fashion Week ’10. As from Monday 1st March you will be able to purchase selected samples from various designers, and now for the best bit, at sample prices! Currently no one is exactly sure which designers have donated and won’t do until Sophie Saunders and Olivia Morgan, manager and deputy respectively, pick up the clothes on Sunday 28th Feb., so begin your prayers to the fashion gods for your personal favourites.

So what better way to splurge on a designer item than with the piece of mind that the money will be going to such a worthwhile cause as Oxfam. Please queue amiably now ladies.

by Lucy Popps