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Wednesday, 22 April 2015

3D Printshow New York // Digital Fashion

Last week stood as the ninth 3D Printshow event that I've been heavily involved in producing. It was my second time working on the show in New York, and I have to admit that my love affair with the city has only deepened after another 8 days in Manhattan. We staged the four day show at Center 548 in Chelsea, right down the road from some of the most interesting gallery spaces - including Comme des Garçons and Gagosian Gallery. Needless to say it was fantastic to work in such a creative part of the city, as well as being so close to the water (West) and the High Line.

Lauren Slowik, Design Evangelist, Shapeways

I curated and produced eight conference sessions over three days - but my absolute favourite (by a long way) was the Fashion session, which explored notions and practice within New York's computational fashion scene. It wasn't just the content of the afternoon (or that fact that most of the speakers are now quite good friends), but it was the relaxed yet high-level feel of the event. I was extremely proud of have put together such an amazing afternoon, and I couldn't have been happier to see it filled with such interesting people.

Take a look at the schedule below, and catch up with some images of the show via our flickr. Next up: #3DPS London in 4 weeks.




Sunday, 12 April 2015

Dior and I

ICA. Tickets booked. Late April. Absolutely cannot wait to be given this insight into Raf's journey through couture.


Tuesday, 31 March 2015

Layer by Layer: New Young Writers on Wool

Edited by Professor Catherine Harper at the University of Portsmouth, some of my written work has been published in Bloomsbury's Textile: the Journal of Cloth and Culture within a section called 'New Young Writers on Wool'.

In partnership with ModeConnect and The Woolmark Company, the work looks into the innovative ways that wool is being used in contemporary fashion design. I chose to alternatively deconstruct the production methodology differences between making a wool jumper and 3D printed a nylon element. I was inspired to explore this further after an interview with Massimo Nicosia, the Creative Director at Pringle of Scotland - who is integrating 3D printed parts into his traditional wool heritage brand.

It was a really fun project, and of course - it's always a delight to be published.




Disruptive Magazine: issue one

At 3D Printshow, we've recently launched the first issue of our new publication: Disruptive Magazine. I've been working on curating content for the event now for nearly two years, so was really excited to play a part in creating an editorial accompaniment to the show; I even came up with the name for the digital magazine during the concept development phase, which I was really proud of.

Visit the link below to download issue one, featuring a real selection of different articles about 3D pritning across a variety of industries. I've written a piece (pages 33 - 43) which explores why much of what's 3D printed in the fashion industry has been spurred on my the work of architects - and it was a lot of fun to write.

I'll be regularly contributing to the publication, which I couldn't be happier about. In the meantime, I'm putting together all of the conferences for this year's series of ten international events, whilst supporting onsite with arts management, curatorial and installation duties for our 3D printed fashion and arts galleries.

Please do get in touch with me if you'd like any more information: what we're doing is pretty incredible!




Saturday, 7 March 2015

Margiela Mules

As usual - plenty of weird stuff making its way down the aisle at Maison Margeila (Fall '15 RTW). Still can't get away from the fluff though.

http://www.maisonmargiela.com/

Tuesday, 3 February 2015

Wednesday, 21 January 2015

Preview Evening: The London Art Fair 2015


Tuesday 22nd January: 6 - 7:30pm Preview Evening

Walking around an exhibition of exhibitions is like navigating some kind of bizarre maze which doesn’t have a prize in the middle. Anyone who has ever been to an event at London’s Business Design Centre will know that it is a very, very big place: a mixture of different levels, spaces and uses already makes it a hybrid kind of venue – but with the addition of around one hundred participating galleries, each curating their own small stand within the space, the microcosmic vibe about the show was certainly a little bit overwhelming. Now in its 27th edition, The London Art Fair typically launches the art world’s year by presenting a selection of Modern British Art from a selection of different galleries – covering the period from the early 20th century to the present day. The event stands as a platform to encourage and support collectors of all levels, and even on the preview evening before the main event’s opening, there were a few neon, circular dots obscuring the prices under each work’s title.


Warmed by the hundreds of temporary spotlights, the tension between loving art and collecting art always seems to hang in the air of these kinds of events. Of course, seasoned art-fair attendees embrace the entire structure of it all, using the show as an opportunity either to develop their own private collections, or (in the case of the gallery curator / event exhibitor) promote the work they so love and support by showing and actually selling some of it. But that other group of attendees can often be found awkwardly wandering the rows of exhibition stands feeling overwhelmed, confused and kind of out of place - despite being surrounded by a lot of very interesting art. It’s the trade show element of the art fair structure which momentarily presents art in a context that not all of us are particularly comfortable with: the art market.

I’m going to make an effort over the next few months to really widen my scope in terms of the art events I attend. I want to learn more about the market that continues to support the creation of new work (regardless of medium), in the hope that one day, I can confidently support new art by purchasing some myself.