Edition, a project of The Grand Social, is launching a limited edition book and poster set of Daniel’s work. The selections are from a range of projects and clients, like These New Puritans, AnOther Magazine, Sydney Dance Company. Slow Work On A Bright Screen, will debut at Edition’s gallery space next week and continue until the end of August.

CANVAS: You moved to London to study at Central St. Martins. Did you find it difficult adjusting to the change in energy of the city? Did it affect the way you create art?

ECHO: I always think no matter East or West, our life is a journey of finding your individual identity, not just in terms of nationality but also a cultural, social identity. I agree, every city had its own energy but through literature, music, film and art we share this world, share the same creativity and curiosity. so I didn’t find difficult to adjusting to the change in energy of the city but truly felt excited and being inspired about London its culture and personalities!

London is well developed, but still maintains its traditions. It generates an incredible multi-cultural social environment and melting pot for different nationalities. It was Pink Floyd’s music video for The Wall, the musical Cats and Tracey Emin’s artwork ‘Everyone I Have Ever Slept with 1963-1995’ that attracted me to leave my home and start searching for my own life. After studying and working in London for 8 years my artworks have developed under a freedom of ideas. They have become decorative, playful and meaningful.

How would you describe your style?

I would say that ‘style’ is created by both artistic process and life experience, so I would say it is theatrical, imaginative, energetic and quirky.

You’ve got a few creative feathers in your cap - stylist, illustrator, window dresser, artist. Which do you prefer?

I am a communication artist. I do styling, Chinese writing, illustration, art, window dressing, even performing and curating but they all exist under a big umbrella of Communication. I try to use both digital and traditional hand craft skill to create a new and interesting visual experience. I try to build a strong dialogue between the audience and myself. Between the past and present; between art and design.

I think all these have really come together in the new installation I have done for the Enchanted Palace show in Kensington Palace. My exhibition is called:” a room of the world, a world in a room” and I act as a princess who collected the world. My contribution was: I curate a small group show in a “ Cabinet of Curiosities” and a willow, painted lantern mantua “Dress of the world”. The cabinet is like a modest king who kept everything inside and the dress is the show off queen who uses the world’s colour to decorate her beauty. The reason this project was so special is because I got to use all my knowledge and imagination: collecting, illustration, set design, curating and I learnt so many new skills as well, like willow sculpting. I even had a studio in the palace. I’m still recovering from my Cinderella’s excitement.

Considering your recent collaboration with Oxygen, would you consider cementing a career in fashion design, considering how easily your work translates to print?

Maybe, but the provocative and revolutionary part of fashion attracts me the most. Fashion to me is a rich culture reflecting the image of humanity. I like designing t-shirt prints because I like to create painting that’s wearable and movable. There are many incredible well-trained designers who really have a passion and skill for fashion, so I only wish to make cultural statements.

What are you looking forward to for the rest of 2010?

2010 is a good year, because I am studying again to develop my work with more intellectual depth and at the same time I am looking forward to more challenges and collaborations in both the art and design world. Most excitingly, I am looking forward to seeing my Mama, she is coming this summer to see the Enchanted Palace. I haven’t seen her for three years and can’t wait to show her my work!

The pop-up trend has been circling for some years, and The Fleet Store plans to capitalise on the retail concept of exclusivity and surprise. Fashion enthusiasts can expect an ever-changing product range of designer garments from Brisbane’s next crop of fashion talent. Similar in concept to pioneer emerging designer boutique The Tribune, The Fleet Store will also act as a hub for the local creative community through collaborative exhibitions and design events.

The development of QUT’s Fashion program, under the guise of Suzi Vaughan, and the emergence of fashion stores focused on young designers, has really helped to change Brisbane’s fashion landscape. Through education and participation, it’s encouraged a greater deal of risk in sartorial self expression. QUT graduates Robyn Taggart and Kate Stein, who can both be found at The Fleet Store, are a great example of the pursuit of a new fashion independence. There’s a strong sense of individual identity that is starting to emerge, one that rejects the stereotypes of a subtropical lifestyle. It’s the kind of forward-thinking, spirited sophistication that we can really take pride in.

Like their previous collection, Vice and Vanity’s Oni shares the same intuition for volume, dimension and layering, giving a three dimensional, tactile form to their designs. Taking meaning from native American and Japanese traditions (The native American translation of Oni translates to “Born on holy ground”; in Japanese folklore, it’s the name given to a mythical creature with sharp claws that likes to deceive and devour.), Oni interprets the tension of opposites, questioning whether nature and industry can coexist. So in Vice and Vanity’s typical manner of mischief, leather clad facets are shared with sharp serrated edges, against a backdrop of hypercoloured connective thread. It’s akin to industrial gears grinding away, a precision of mechanical obedience.

Vladimir Karaleev

It’s no surprise Vladimir is top of our list. We discovered the designer six months ago, after his autumn/winter presentation. Showing as part of the How To Start Your Fashion Business competition, Vladimir again kept his focus on draping and folding to a restrictive palette of block colours. Transforming tailoring techniques and tactile materials, his work is like a statement in opposites. Soft, light fabrics are coerced into hard and sharp lines, constructing a modern identity through conceptual metaphor. There’s a scholarly interest from the designer in art and architecture; he’s previously spoken of his fashion as one of protection or enclosure, that covers the body. This collection is symbolic of Vladimir’s capacity to construct a fashion that has form and meaning, and is both functional and fashionable.

SADAK

It’s hard not to connect SADAK by Sasa Kovacevic’s style to predecessors like Walter Van Beirendonck or Bernhard Willhelm. SADAK shares the same cultural expressions of colour, humour and theatricality. It’s not so much abstract fashion, more like a rich fantasy or imaginary world. Brash slogans, graphic prints and geometric shapes hint to history and culture. In this case, traditional costume patterns from rural Serbia, 60s optical illusion prints and slogans from a new socialism. The collection is ambiguous and slightly absurd, dismissive of what is considered ‘good taste’. But it’s also an amusing, visual spectacle of fashion’s freedom of expression.

Perrett SCHAAD

We mentioned this designing duo in the lead up to Fashion Week. With their winter collection we felt an instinctive emotional connection to their work. It’s classic and an uncompromising, quiet vision of understated sophistication. Continuing on from winter, summer is defined by a fresh and clean colour palette. It’s an atmosphere of optimism, where whites and neutrals are awash with saffron, mustard, olive and grey. Perret SCHAAD are starting to carve out a niche as a talent for strong tailoring and sharp shirting. Proportions are altered to a slightly masculine level, yet sensitive to the female form, in a sensibility of clear lines and intelligent cuts.

Michael Sontag

Sharing a similar appreciataion in simplicity to Perret SCHAAD, Michael Sontag considers his women in a romantic vision of softness. And in the tradition of modern minimalism, a style stamp for coming seasons, Sontag relied on proportion, fabric and bright, one-coloured silhouettes for his summer collection. Perhaps drawing a relationship to Cubism, the collection is asymmetric, simple, comfortable. Like Karaleev, there seems to be opposing ideas at play. Self control and strength is met with fluidity, volume and drape. It’s not innovative, simply a fresh take on classic shapes, but it’s a beautiful way to dress.

All catwalk images are copyright, and courtesy of Andreas Schwinn and Dominik Hotzy.

Don’t expect diamonds or pearls, rubies or sapphires. Billy Bride is an experimental attitude set under the guise of good healing. Champagne aura, lapis lazuli, citrine; each stone used harnesses a physical and emotional energy that guides the creative process, where the stone speaks to influence shape and setting. “Not every crystal is suitable to be made into jewelry. The stones that I source have something special, an extra indefinable presence that qualifies them for this purpose. Organic is a great way to describe it, it naturally evolves into a work which compliments each extraordinary mineral”. Each piece is a reflection of the less is more mantra. ”The rawness is the most compelling characteristic of mineralogy, and leaving the stones untouched as they are found growing in the earth, allows us to experience their energy in the purest way possible”. It’s an element of nature brought into everyday life.

And while each piece is created the same way, using the same technique, each ring is unique. No two stones are alike. And perfect is not better. Because of their unconventional shape and setting, imperfections are a mark of personal possession. A sign that it is yours, to be worn and loved. Eventually to be left to another life, for another, new experience.

What makes Something Else cool is it’s the kind of look that connects fashion with street style, art and music. Each season is a clash of contrasts, of fabrics, prints and colors. It’s wearable, directional, a little bit experimental. This season’s quirk comes from it’s inspiration; futurist, healer and artist Emma Kunz. Gaining notoriety for attempting to ‘re-polarise’ Hitler, Kunz’s work is equally dramatic. Regularly used for healing, her images are defined by abstract, geometric shapes. Resembling fine string art, like spirograph patterns, the drawings are mandala-like in their symmetry and colour symbolism.

And the fun? Well it comes from the collaboration. No Something Else collection is complete without the aid of a fellow creative, and this season Tara Marynowski’s vivid watercolors help convey the spiritual symbology of Emma Kunz’s artwork. It’s a perfectly conveyed collection with a feeling of reckless abandon. An ethereal summer love inspired by spirituality, creativity, and freedom.

Featuring Estelle Deve, All Of The Above, Limedrop, Civil Civic, Copenhagen Street Style, Petter Karlstrøm, Tanya Kechichian.

Download The DIY Issue - 17MB PDF

You may recognise Corrie’s designs, especially if you pay attention to the niche designers showing in the backstreets off London’s fashion schedule. Cooperative Designs, the daring knitwear specialists, commission Corrie to produce, suffice to say, spectacular pieces of object-as-art-as-jewellery with each ready-to-wear season. Corrie and Cooperative Designs are like two design peas in a pod; a joint force since their graduate days at Central St. Martins.

Much like the label, Corrie’s jewellery is all about bringing together unusual techniques and materials in a very playful, offbeat manner. Interestingly enough, Corrie’s jewellery career kickstarted with sales in Japan. For men. “The pieces that I was originally making were never intentionally designed for men, but I do think that gender plays an important role in my design work in general [because] my approach to jewellery is one that pushes [gender] roles.  I love my jewellery to be worn by both men and women and the blurred edges of gender are what interests me a great deal“.

Corrie’s approach to jewellery is kind of like carpentry. “ I use traditional woodwork machinery and tools and combine woods and perspex with traditional metals. I [like to]  to combine [these with] things from a hardware store, like rivets and hinges”. A mix of psuedo-industrial and natural desires. The result is a distinctive display of strong colours and textures, a complement to Cooperative’s optical appeal.

So the question begs, does the approach to design differ when designing for her own range? “I love collaborating with other designers. Sometimes it can be quite solitary work, especially when working freelance. It is definitely different to the way I approach my own collection because it comes from a much more fashion/trend direction. Themes are drawn from and adapted and put together to make a collection [like for Cooperative Designs] but with my own collection I am much more materials based. I’m interested in putting together interesting and contrasting materials without the structure of a ‘theme”.

Collaborations are very much de rigour in fashion these days, and certainly something that keeps Corrie busy. Separate to her work with Cooperative, Corrie partners with sustainable fashion company GoodOne, who offer an ethical, body-hugging collections made from technicoloured, recycled materials. Corrie works on “producing belt buckles that are an integral part of the garment”, naturally all made from sustainable materials, “And of course, I’m working on my own collection…”.

But you understand why, don’t you? It’s so beautiful. And it’s intriguing too. Rife with her signature contrasts, Hutching’s costume jewellery screams the statement: opposites attract. Natural fibres, polished yellow gold, black leather, peacock feathers. Transparent and reflective stones. It’s a little bit art deco, a little bit tribal, and totally futuristic. They’re like pieces of an abstract puzzle accidentally put together. Decadently embellished pieces of drama. Totally ignorant of trend too, instead it’s all about more ‘more’. Big, bold, better. In the words of Zoe, “I just..”.

A definite newcomer to the scene, having presented their first collection to the public in January, PERRET SCHAAD is already a hit with the locals. And looking at their winter collection, their initial success becomes glaringly obvious. For us, it was like love at first sight. As a debut collection, the work is surprisingly accomplished. Shirt dresses, delicate silk tops, sharp, short mini skirts in either blocks of neutral tones or as a pop of powdery colour. These are pieces that can easily be integrated into the wardrobe. And despite a rather plain looking approach, PERRET SCHAAD’s designs are more like an experimentation in simplicity, one where soft forms are combined with firm contours.

In anticipation of PERRET SCHAAD’s follow up catwalk presentation, Canvas had to have a quick Q&A with the girls, the most important of which: where can we buy?!

Do you feel like there’s maybe a new movement in German fashion that is being fortified by the youth and vibrancy of Berlin? Your own label is quite young and seems to be more conceptual that one would expect from German fashion.

Berlin is a city with a huge cultural offer and creative outputs. Its international attractiveness is definitely an interesting element to the grounding of our label.

Until now, German fashion might have been known especially for its hyper-plain, strict aesthetic or a contrary streetwear scene. We are seen as different, because our design process is a meeting point between “savoir-faire” in finishing qualities, elegance and avant-garde design concept. We give importance to both innovative use of textile, volume and colours research and our clothes are garments to be worn.

It seems when people see clean lines in design these tag they’re quick to assume a minimalist tag, but how would you describe your work? How does your use of colour help to convey your ideas?

We think one of PERRET SCHAAD’ s strength’s is our perception of colour, and overall the way we harmonize, break contrasts and and play with contradictions.

Where can one find PERRET SCHAAD?

Around mid-August, you will find PERRET SCHAAD Ulf Haines in Berlin, Destination Tokyo and Wut Wut in Tokyo, Forest Bird in Hong Kong, In the Woods in Seoul, and Debut in New York.

Let’s hope there’s an Australian boutique on that list next season.

Tait’s work is a study on form and proportion, structure and fit. It’s high drama with a sense of distortion. Who would have thought an obsession with the human skeleton could lead to something so sartorially exciting. Like the bones in our body, Taits designs follow a pattern that’s repeated, then exaggerated at certain points: the shoulder blades, the collar bone, the hip bones. The framework for each look is the fabric. It serves as a scaffold, supporting the silhouette, to offer a physical look with an aesthetic connection. It’s not often that London serves up a colour palette so dark, and despite the monotonous tone of black, captured in profile view the clothes take on an excess of depth that can only be dramatised by black.

Don’t you just love the model’s likeness to PollyJean Harvey? The clothes, the model; both share that same kind of awkward beauty. And might we add this designer is only 22 years old. We sigh to think what Tait is capable of in years to come, but the struggle for young designers, something Tait is coming to terms with himself, is establishing a viable fashion business. In the grand scheme of things, designing a collection is relatively easy. It’s the practical side of fashion, like setting up a studio, finding manufacturers, and convincing discerning buyers to believe in your fashion vision, that becomes difficult. We believe in Tait. Our fingers are crossed others share his vision and we’ll see Thomas Tait on the London schedule in seasons to come.

Trained in textile design, Heine worked with the late, great master, and genius of drama, McQueen, before completing a masters at Central Saint Martin’s. London’s Fashion Weeks have proved that anyone worth their seams to be a graduate of the ultra-prestigious college. Do we even need to list off the (in)famous past pupils to know this is the design school where fashion dreams are stitched up. And while creativity isn’t something you can learn, it’s apparent that Lilly’s lessons at CSM have encouraged the most modernist of visions.

Heine’s work is centred around the relationship between couture, art and commerciality. Starting with Picasso’s exploration of geometry in art, Heine presents a precise range of linear shapes. Each piece is a labour of love. Fabric is laser-cut, layered and hand-stitched to create volume and movement, as if the garment itself was a sculpture in motion. With pieces available exclusively at Harrods as made-to-order, it’s a modern take on couture, a triumph of technique, costume and fashion. That’s wearable. So wearable, in fact, that TopShop, the high-street pioneers of affordable designer collaborations, have put their support behind Heine’s ideas. Definitely a sign you’re tipped for fashion greatness.

So how is it that a piece of clothing can so easily personify our culture while a 60 second ad, made by sharp minds with millions of dollars, fails miserably to hit the mark? Maybe TA should be taking a post-modern approach to marketing, like Nathan Smith does with the design of his clothes. Like the campaign There’s Nothing Like Australia, Smith’s summer is an ode to our country, inspired by the outback and the richness of our environment. But do you see any brash, bold prints or Dundee style references?

The ideas aren’t too literal but it’s easy to sense a feeling of national pride. The colour palette of earthy tones and use of natural fibres lends an an ease of spirit and refinement, and Smith’s style is grown around the relaxed, casual demeanour of the country he designs for. Based around wardrobe staples, or essential aesthetics, summer is about comfortability and versatility. A subtle but dignified chic and sexiness. With a little bit of athletic charm. That’s the Aussie spirit!

Choose from slouchy tees, relaxed-fit maxi dresses, and striped sweatshirts featuring exaggerated necklines and low-cut armholes. For guys, shorts, blazers and classic shirts. Smith doesn’t discriminate against age or gender with his collections; it’s practical fashion for all, that won’t go out of style. It’s a really simple concept, executed to perfection. So if we can export this idea of Australian culture and lifestyle through dress, why can’t our media agencies mirror this attitude?

Over the last few years, arty and obscure videos have leapt from the catwalk to the computer screen to transcend the tradition of seasonal catwalk schedules. Designers are going digital, because when it comes to fashion, sophisticated ideas are often easier to digest in video format.

Swedish designer Carin Wester, known for her clean lines and smart design, is no exception to this digital revolution, and her winter collection is a perfect example of the new relationship between fashion and film. On paper Wester’s influence reads like a spoken word poem: the darkness, the brightness, the lonely guitar, the beauty, the sex. The difficult task for designers is to connect the concept to the clothes and to the wearer, so that it’s no longer a two-dimensional approach.

With Beeping Sleuty — a short film that mirrors the sparse mood and adroit aesthetic her clothing - Wester is able to engage with music, movement and emotion. The clothes are secondary to a feeling, but the sum of all parts. For Wester, it’s about creating something that’s multi-sensory, that appeals as much to the eye as it does to the heart. These days in fashion, it’s about being interesting. It’s about creating an inclusive fashion universe and this winter Wester wants to bring you into hers.

Like the Wood Wood and Ellesse unspecified collaborative project.

In celebration of the revived Ellesse Heritage collection Wood Wood was invited to work with the classic luxury sports brand. We’re not quite sure what to expect, because it’s all very hush-hush at this stage. Perhaps the strategy is not to give away some of your best plays before the season starts. The capsule collection will debut during Berlin’s fashion week. But like all the best brand collaborations, this one is sure to shun convention, given Wood Wood’s predilection for urban fashion and Ellesse’s statement of looking good while working out.

Why?

The venue: Parc Del Forum was designed by Swiss duo Jaques Herzog and Pierre de Meuron and is a nod to forward thinking architectural ideas. On the whole, the city of Barcelona is an amazement of architecture. Think Gothic and Gaudi. The Parc Del Forum, however, is most definitely modern, defined by rectangular forms and complex geometric structures. And in keeping with current environmental concerns, the Forum Esplanade is a series of solar photovoltaic panel, designed to follow the sun and direct current electricity. It looks good and is kind to the planet.

The view: situated on the coastal outskirts of the city between the Mediterranean seafront and the Ronda Litoral, Primavera Sound provides a perfect sun-kissed atmosphere to soak up some of the most interesting music makers.

The variety: 125 artists spanning three days. Indie, nostalgic, hip-hop, pop and prog-rock bands vie for attention, over six outdoor stages and an auditorium. Discerning bands selected for a discerning crowd. Primavera Sound’s support for new bands and celebration of those of yesteryear, make the festival’s a favourite for industry insiders; a meeting point for fans from all generations.

This is how our weekend unfolded.

Day 1: Thursday

In Australia, it’s standard for festivals to run from 12pm-12am. Not the case at Primavera. In fact, 12am is usually when the best bands start. Fortunately the days are long, with the sun hanging around until just before 10pm, so the idea of staying up late to catch a band is feasible. And thankfully there’s Jaegermeister.

Our first act of the day was supposed to be The Books but a late start meant we ditched them in favour of Surfer Blood’s full set. It’s hard to know if we made the right choice (we were hoping to catch both) but we were impressed with the energy of these fresh-faced West Coast boys regardless. Their brand of California pop, and particularly the song Swim, was a great way to start tour Primavera party.

While doing a little festival exploring and finding our bearings we were taken in by the tunes of local band, Guadalupe Plata, at the Adidas Originals stage. Fortunately they were playing adjacent to the press area, Primavera Pro, so we were able to relax stage side with a drink in hand, bopping along to the music. Guadalupe Plata play raw and dirty blues and their performance was electrifying. Sure, all the lyrics were in Spanish so we didn’t quite know what they were singing but you don’t need to understand the language to know a song sounds good. These guys were our surprise highlight of the festival.

Heading over to the Ray Ban stage it was tough to find a good spot for The XX. Their album has been so successful with local and international media which meant the crowd was enormous. It felt like the entire festival was packed in for this one show. Considering all the fanfare the performance didn’t quite match the hype but it was nice to while away 45 minutes listening to their minimalist melodies.

Another stop at Primavera Pro before heading to Wild Beasts. While we were disappointed to miss the first chorus and verse of their opening song, The Fun Powder Plot, Wild Beasts were amazing. With a big exclamation point! All The Kings Men was a particular highlight of their set. Hayden Thorpe’s vocals seemed to reach all corners of the festival and we left thinking this was the band to beat for favourite set.

Another short time-out before waiting for Sleigh Bells on the Pitchfork Stage, but our time listening to the band was short lived. Alexis Krauss’ twirling and screaming was too much for our tired ears and while we had the best of intentions to stay around to catch Delorean and Fuck Buttons, we had to call it a night in anticipation of Friday’s busy schedule.

Day 2: Friday

Thankfully the day started in the Rock Delux auditorium with Owen Pallett, which meant we were seated comfortably for the first few hours. It was a mixed bag of musical treats, with Owen playing songs from Heartland as some from his days of Final Fantasy. He did a very clever cover of Caribou’s Odessa, interestingly, the first time he had played it, and although out of character was definitely a favourite. The set finished with a rapturous standing ovation from the crowd.

Hope Sandoval followed, in what was one of the most mysterious performance we have ever seen. A strict “no cameras allowed” policy was in place, fair enough too - why would you want to watch a performance through a camera lens? Hope and her band, The Warm Inventions, arrived in complete darkness. There were soft lights on both the bass and lead guitarists but Hope remained shrouded, in a cover of black. She even left the stage while the band belted out the final song without so much as a thank you, and even though the songs and her voice are beautiful, her performance left us feeling duped. We just wanted to see her face!

We had planned to see Low performing The Great Destroyer but the line was enormous - it was one of the few shows where you could pre-purchase priority seating - but even the perks of being press couldn’t work their charm getting into the show.

We had an hour to rest before the program got really busy, starting with Spoon at the main San Miguel stage.

We were only able to stay for a few songs before heading over to Beach House where we caught a mere whiff of melancholy before again racing off to catch Here We Go Magic’s full set. It’s tough choices like these that define a festival. Despite being a “buzz” band since their self-titled release, the crowd was small - Here We Go Magic had to compete with Beach House and Spoon for an audience. But it was worth it. Luke Temple and his style of electronic funk/psychedelia/white noise was great fun.

The mania started again, starting with Wilco, who had a few technical issues second song in. This could have easily caused a slight panic amongst the crowd, but frontman Jeff Tweedy sorted to calming the audience with an acoustic version of Jesus Etc. Next pit stop, CocoRosie, arriving on stage in their unusual, charismatic attire, a mix of Victorian, pirate and dominatrix garb. We don’t quite understand all the face painting, especially their new cover album artwork, but it’s all part of the CocoRosie charm. The sisters have two of the most intriguing voices and backed by a beat boxing performance energised the crowd into an evening of festivities.

What can you say about Les Savy Fav’s Beardo? Tim Harrington is one of the few men, Iggy and Har Mar aside, that can get away with getting his clothes off onstage. Two songs in, and they were off! The Primavera party was definitely in swing. Jumping into the crowd, climbing poles, his physique seemed to work against him though because he ran out of puff quite quickly. Still, their style of art-rock/hardcore is so entertaining to watch and Tim’s theatricality was everything you would expect from the frontman.

We popped in to see Panda Bear and were happy to find ourselves standing next to the boys from Grizzly Bear. We played it cool while others bounced around the boys, asking for happy snaps and autographs. Unfortunately for Panda Bear, that was our highlight of his set. It’s hard to watch someone so low-key on such a massive stage, especially with all that sound distortion and warbling, and the crowd thinned out quite quickly, with most heading to see Pixies. We let the crowd swell to the main stage while we caught Major Lazer.

A crazy performance, on par with Les Savy Fav. Diplo and Skerritt Bwoy took the stage, the latter looking like Wesley Snipes in Demolition Man, with a couple of dance hall girls and a whole lot of booty shaking tunes. We were hoping to hear more songs from Guns Don’t Kill People…Lazers Do but instead it was typical of a Diplo DJ set. No complaints here though because we were pulling shapes with the rest of the crowd. Definitely great fun, kept the party spirit alive, and one of the better sets of the festival.

Yeasayer normally gain kudos for their live shows but Primavera wasn’t too kind to the band. Perhaps not accustomed to playing at 3am, their cyber gospel style failed to impress us on the same level as some of the previous performances we’ve seen. But we’re big fans of the band and followed the set until their finale, Ambling Alps, their most spirited song of the night.

Day 3: Saturday

Our last day, thankfully, was a little more relaxed, with fewer bands competing for our attention. At Atlas Sound we were hoping for a duet with Panda Bear but once Bradford set foot on stage, stripped down to a guitar, harmonica and drum machine, we knew it was unlikely. It was a commanding performance that the crowd reciprocated in kind. It’s always quite interesting to watch a solo act entertain with the most minimal of instruments, and he was very humble in applause, almost the opposite to his Deerhunter stage presence.

Florence And The Machine took to the stage around dusk. With one of the most powerful voices we’ve heard in recent years, in the open air of Primavera it sent waves from the front of the crowd to beyond to the sea. While her stage dress of gospel-like proportions was entertaining to watch, given the strong the winds, unfortunately her holier-than-though posturing and bouncing from side to side was quite contrived and we could no longer bear it. Let’s face it, we’ve seen that stage performance before in the likes of Karen O and Bjork, and the originals do it better.

Grizzly Bear was the band we were most excited to see because we missed their performances earlier in the year at the Sunset Sounds and Golden Plains festivals, so while it was their second time at Primavera, they were a first for us. They opened with Southern Point and managed to keep the audience’s attention up until Two Weeks. After that, the crowd was far less courteous. We were surrounded by constant chattering and had to fight the urge to shoosh the crowd (a sign of aging?). The audience may not have been as excited but we loved listening to their celestial harmonies and lilting melodies.

Perhaps we should have headed to see Matt & Kim or followed the crowd to Built To Spill but we chose instead to see No Age. Since we saw them at the Brisbane’s Laneway Festival the two-person band has turned into three (at least on stage) allowing Dean Allen Spunt to focus on drums and vocals.

The last two hours of the festival were spent trying to fit in a few songs from as many bands as we could, like Gary Numan, Liquid Liquid and The Pet Shop Boys. But three full days of music was a physical strain, especially on our feet. Despite an exhausting end it was easily the best festival we’ve been to. Great bands, great views, polite punters. Primavera Sound - we’ll see you next year!

–

Special thanks to Inma Varandela, Chus Sanchez and Dani Conto

Amelia says of her label, “It’s more than just an ode to fashion trends and seasons, it is a statement in itself. My collections usually consist of strong shapes, but this season has more pieces that flow with the body…showing off a feminine shape”. You can expect a creative mix of depth and texture. Suede, velvet, silk, and feathers are an expression of opposites; of bold shapes and sheer fabrics, of feminine lines and structured shoulders.

Inspired by London and its alternative street scenes, the colour palette is symbolic of the fickle mood that hangs, much like grey clouds, over the city. But beyond the shadow lurking over London is life, dynamism, an exuberant expression of style. This is what is at the heart of each of Amelia’s collections: a subversive salute to illusions and assumptions. And like London’s underground grunge scene, Neon Heartache is about artistic, anti-fashion. It’s synonymous with youth and a search for new ideas. Born from the streets but appropriated for a high-fashion look.

Her debut was defined by floaty florals, texture and transparent nude tones. She was an intriguing character, a modern vision developed from fragments of memories of Scandinavian snow-covered landscapes and transpired through dress, as if she were borne from the purity of nature. So is there a connective thread between the two collections?

A season on and Jess continues with her love of surface design. Texture is key. Heavy, knits twist and cover the neck; jersey is plaited to decorate the shoulders; while tiers of silk fall from the bust. Whereas last season was about pretty dresses and pure whimsy, this collection is more structured and sombre. Man-style tailoring at one end of the spectrum; floaty silks and draped shoulders at the other, kept clean with a colour palette that holds with Lubanci’s Nordic influence.

What binds these two together, and is essentially the aesthetic to Lubanci, is intrigue. A desire for delight, in the search for something unique. Lubanci emulates chic, but still has a temperament of youth. It’s a delicate but definite power and the reason it’s a favourite.

First up, Emma Rea. When we last spoke of her collection, The Raven, her look was brooding, black, and bordering a line that blurred the codes of gender dressing. But there’s something different in the way Emma has designed this new collection. It’s as if her look is starting to transform, like it’s focused on achieving a new technique by bringing the label into a new territory with accessible, ultra-feminine dressing.

It’s a surprise of delicacy and drape with the new season, suitably titled Transition. It’s a softer look but still one for those who appreciate concept, line and movement. Colour blocked in black and white and with a hint of blurred print, material is gathered, wrapped, curled and floated around the body. There’s still some of that boyish charm, with button-down shirts, boxy jackets and easy trousers, but it’s a refreshingly chic and sophisticated look, and a formula for success.

Fortunately. Finally. Jasmine is back. Brimming with new ideas and working under a new name, Gala. It’s not easy to compete on Google with luxury brand Bvulgari, so Jasmine has drawn creative inspiration from the surrealist movement and sought solidarity in Dali’s muse, Gala Dali. It’s perfect - Gala was the darling of the 30s art scene, acting as a coalesce between the genius of the artist and the real world. Jasmine’s Gala serves much the same purpose: to perform a tangible duty as adornment for fashion aficionados.

The collection is inspired by heirlooms and the importance jewellery plays in the relationship of generational women. Ribbons, ropes, frills and bow ties hide within the armour of resins and metals. Just like an heirloom signifies a physical reminder of bygone days, these bows are frozen into position, captured in time, bound forever to remain the same. A future heirloom actualised.

Producing a collection of 12 indispensable bag shapes - one for each month of the year, if you’re lucky - and designed to evolve and improve with each season, After The Apple draws some parallels to Dendle’s previous handbag life. Created with desire and devoid of demographics, the notable difference between her former and current life is Apple’s subtley of design.

Taking inspiration from the sport and accoutrements of falconry, After The Apple’s third collection is a handbag homage to the beauty of these elegant birds. Adorned with helmets of shiny gold, mixed with rare skins, and crafted from varying textures of embossed leathers, the collection is a natural reflection of the falcon’s resplendent plumage and accessories. Like the sport itself, After The Apple handbags show a finesse and skill of craftmanship, and a devotion to good design. Each bag has a “function for every component, a purpose for every element”. They’re functional and practical and fashionable and everything a woman expects from her best friend.

This collection is the stuff little girls dream of. Embracing the beauty of the stars and the moon, Magical Night Under The Starlight is a sparkle of gold and precious stones. Unicorns emerge in a cascade of chains from stellar constellations, mermaids cradle pearls delicately above as if in service to an imaginary gold, whilst owls take on a regal role adorned with bejewelled crowns. When you look at Matina’s back catalgoue of collections, even with the recent addition of a menswear line, there’s always some sense that she’s appeasing her inner child. The fantasy of childhood play times, memories of traveling the world, of cultures and tradition, being sweet sixteen and falling in love. It all becomes a reality in a magical Matina universe.