Fat Talent will be organising the Royal Borough Of Kensington & Chelsea Youth Arts live Programme at Powis Square at this year’s Notting Hill Carnival.

We are currently auditioning for local talent specifically between the ages of 13-21yrs

We will be showcasing a varied programme to include different genres of music from live bands, soul, jazz, hip-hop, choirs etc, to different styles of dance performance.

If you are a young talent or know of one please get in touch ASAP. You must be aged between 13-21 and live within the borough (RBKC).

For additional info & to apply please contact ady@fattalent.com

The Carrot Kid -Website Self Portrait

Name: Paul Whittington
Age: 35
Lives: Vancouver Island, Canada
Occupation: semiprofessional, I guess.
I do make money from my films through DVD sales,
festivals, and licensing fees.
I also do a little freelance camera work and editing
for a few producers I know.

Think of animated films and the mind immediately jumps to the computer generated extravagance’s of Disney and Pixar.
But you don’t have to have a big budget and complex computer programming to turn what stirs in the imagination into animated films that are inventive, original gems.
Canadian film maker Paul Whittington -proves that with his dazzling collection of shorts

If you can do this with a bunch of carrots then the world is indeed your oyster.

The Juiced Carrots from Carrotkid on Vimeo.

Fattalent asked him about the making of The juiced carrots -which seemed likely to have been an extremely messy process

The Juiced Carrots was an extremely fun film for me to make and I was quite pleased with the outcome of it. And yes, it was a very messy film shoot!

The Juiced Carrots is the third film of my Kitchen Trilogy so by the time I got the filming it I pretty much had the style down. It was also an experimental film so I didn’t do too much planning ahead of time – basically the only things I knew before filming was that I’d be juicing carrots, that it would contain the same audio/visual style as the first two films, and that the film would end in irony wherein all the efforts of the character would have been for nothing (all three films contain this theme). I also knew that in some way the film had to reveal a vampire-like theme wherein carrot juice is the life-blood and that the killing of the carrots equaled the survival of the character.

With those things in mind, first came the filming of the carrot preparation. As I filmed this sequence a bunch of ideas came to me for other shots that would be great for the film – that was when I came up with the carrot conveyor belt idea.

When I got up to the juicing of the carrots I still had no solid idea how I would visually represent the bloody slaughter of the carrots. However, I did know I wanted to film a POV shot of the measuring cup as the juice poured into it. To film that shot I had to position the juicer directly above a sheet of glass so that the juice would hit the glass with the camera directly under the glass filming it.

The shot worked great but seconds later the juice began to leak from the rim that was taped to the glass and pour out onto the floor! I quickly pulled the camera away to prevent it from getting covered in juice which was now dripping all over the floor and splashing everywhere. And as I was watching this happen, it hit me! I knew exactly how I needed to film the carrot bloodshed.

I started juicing cup after cup of carrot juice and then filmed many shots of it pouring, dripping and splashing all over the floor. It was one heck of a mess to clean up but the results were great. Then came the idea for the carrot pulp cockroaches scattering about as they rush to escape the slaughter.

The process of filming this film was somewhat basic – film some shots stop-motion, film some shots pixilation, and film the rest live-action – just make sure to film as many shots as I can, from as many different angles as possible and then put it all together in post. That’s where a film like this is really made – in post. Once I had all the shots filmed I then slowly worked to mold the footage into something that is fun, fast paced, experimental, and even somewhat compressible, lol. Then comes the recording of all the audio – I record all the foley and sound effects myself separately and then add them in one at a time, trying out different sounds in different places until everything sounds right (they really help to bring the film to life).

Aftermath in the Kitchen

Do you always work on the soundtrack after the edit or before?

I usually work on the soundtrack during the edit (especially for my experimental films). For a lot of my scenes the visual and the sound are one and the same so it’s always much more effective in bringing the film to life and merging shots/scenes together when the audio/visual are cut together at the same time. And whenever it’s possible I like to make the music tracks before the edit because they help out during the edit as well in determining things like: length of shots, choosing the right shots, transitions, and also what the foley/SFX sounds like on top of the music.

How did your interest in animation, & stop-frame in particular, begin -and what equipment do you use to produce these wonderful films?

I’ve had a long time interest in stop-motion since I was a kid. I think it first started right after seeing ‘Clash of The Titans’ on the big screen back in 1981. I was just so fascinated with the look of stop-motion from that film I could never get it out of my head.

Still From: Clash of the Titains

I would make stop-motion films with an old super8 camera (back then video cameras were as large as they were expensive and they came in 3 pieces) animating Lego and toys. But it wasn’t until about 2003 that I began to animate again and I’ve enjoyed it so much that I try to incorporate it into as many of my films as possible (even the live-action ones).

Paul at work on a recent film

The equipment I use always changes. New cameras come out and so I try to upgrade as much as possible. Sometimes I’ll discover a cool piece of equipment I think I can use and so I’ll purchase it. And whenever possible I will construct equipment such as rigs and stabilizers to be used for certain shots in a film.

Camera rig used during the production of “Letter / Box”

A seesaw battle between a letter and a box.

Animation of this kind takes a lot of patience not too mention concentration – did you find it easy when you first started or completely frustrating?

Actually I didn’t seem to find it very frustrating at all – there is always a handful of shots in every film I make that drive me up the wall trying to figure out how to film them correctly but for the most part things go quite smoothly. I am a huge stickler for planning before shooting (storyboards, test shots, ect), so when it does come time to actually film the shot things almost always go according to plan. Then there are my experimental films like ‘The Kitchen Trilogy’ and ‘Inanimate Objects’ in which I don’t do a lot of planning but rather make things up as I go – but even those ‘made up’ sequences in themselves are planned for as well – when thinking up those types of films I will have areas where I plan not to plan so that the process of experimental filmmaking helps to better form the final outcome of the film in a sort of chaotic way.

Still from: “Inanimate Objects”

I think I would completely loose track of where I was up to so do you minutely story board everything?

It’s strange – some films I storyboard and some I do not. I usually storyboard more for live-action than I do stop-motion. With stop-motion, you have all day to film only one shot so you have plenty of time to play around and figure out the framing, camera angle, and playout of the shot. With live-action you film one shot right after the other so storyboarding entire scenes can save you loads of time during a shoot. But I will storyboard certain shots even for stop-motion if they are complex or contain post-visual effects.

Android 207 -model used in filming.

The thing I really like about your work is that things are real -unlike computer generated animation which I find incredibly plastic no matter how clever -any views on CG?

Yes, I couldn’t agree with you more. I’ve always preferred the esthetics of that which is real over that which is not (such as CGI). I think most people do as well whether they realize it or not. CGI is extremely overrated – and even more so on the amateur side than the pro side (I think most pros know enough not to use it unless they really need too). Not that one could not make a very beautiful film using CGI, it can and has been done – NFB’s ‘Ryan’ is a great example. But in general it is best to treat CGI for what it really is – a tool to be used only when needed. If you plan to use CGI keep these two things in mind: when CGI is used correctly in a film the viewer will not even realize they are seeing it – however, it is ok to use CGI as a form of visual style too, just make sure it looks bloody good.

Have you been influenced by any animators and which other animation films do you like?

I do have many influences when it comes to film, however most of them are not to do with stop-motion. I have had quite a few people compare some of my work to Brothers Quay which I don’t understand at all. I do like Brothers Quay but their style is very different than mine and they influence me in no way – any similaries between my films and theirs are simply coincidental. One of my favorite filmmakers of all time is Jan Svankmajer – and I can tell you that he is a definite influence on some of the elements that go into my films. I also like his attitude and approach towards film – very open and free with his ideas, not afraid to show what needs to be shown, great sense of humor in his work, and his films always contain the perfect blend of mainstream and experimental. I have learned so much from watching his films. Another favorite is Norman McLaren and two of his films in particular -Neighbors’ and ‘Sphere’.

Other films containing animation that I like are: Alice, Darkness Lightness Darkness, Manly Games, Conspirators of Pleasure, Clash of The Titans, Jason and The Argonauts, The Wall, The Fantastic Planet, Ryan.

What advice would you give to any aspiring film maker who having seen your superb work says ” I wanna do that!”?

I would say “Go for it”, just remember to keep it real – real to your emotional intuition when expressing each element of the film. Style, mood, atmosphere, story, plot, character, sounds, all need to reflect a specific form of emotion that only you can determine. Also, films are like trees – every tip of every branch all originate back to the same root (as does everything in our entire universe). That root is the spark that sets the whole film in motion – anything you put in your film that does not originate back to that root is nothing more than a broken branch. The root can be anything at all: a thought, idea, situation, character, event, a word, object, expression – anything. And whether the root is transparent to the audience or not is irrelevant, just so long as it’s there.

Head in waiting

Paul’s films have won him no fewer than 13 awards at festivals

Of all the awards you have received, which to you do you prize the most?

Hmmm, that’s a tough question for me. In general, when it comes to film, I don’t have much of an interest in awards – my focus is more on how individual people perceive my work rather than how good or bad a collective whole deems it to be. However, awards do have their advantages – the more of them you get the better your chances are for advancing your film career – they help strengthen your portfolio. But don’t get me wrong, it’s always nice to win an award for my film work, I just don’t seem to cherish them as much as perhaps I should. So to answer the question, I guess I prize them all equally.

One thing for sure, a talent like Paul deserves everyone of them!!

Three of Paul’s films can be seen on Fat Talent in the video section.

All of his work can be found on www.orangecorefilms.com
Buy a DVD featuring some of his best films from his store

- a ‘must have’ for any serious film enthusiast.

Great thanks: to Paul for sharing, helping and giving some of his time.

Interview: john warwick

Fattalent has launched its own Digital Download Shop that will offer MP3′s, Videos, Photographs featured on FATTALENT.COM and also on-line Tickets for FATTALENT-LIVE gigs.

Initially only tickets are available for download -but keep your eyes on it!
In the coming weeks loads of goodies will be available for purchase and download.

Safe & Secure -operated through PayPal.

CHECK IT OUT HERE

Fat Talent takes to the air….

DJ CHEF brings you music from a mix of genres -plus previews, live sessions & interviews from the best in new & emerging talent.

FAT TALENT SHOW – SATURDAY’s 2-4PM
on AXE.FM (92.9fm)
…….or listen on-line! at axefm.co.uk

Jolita Jewellery began in 2008 and is run by brother and sister- Algis and Jolita Abromaitis. Algis creates the jewellery whilst Jolita works on the marketing and promotional side. Fattalent caught up with Algis.

When did Jolita Jewellery design begin? And how many people are behind this creative company?

I decided to start making one-of-a-kind pieces to keep our range exciting and unique. Also, by taking this route we can offer our customers something unique, that no-one else has! It is also exciting and challenging for me to design as I do not like to repeat my designs.

When not making personalised pieces for customers where does the creative inspiration come from for the standard Jolita pieces come from?

I get my inspiration from visiting antique markets, museums, architechture, found objects and a myriad of other random things.

Very often I will start creating a piece in my head, then after a couple of days I will have a vague idea of what I would like to make. However, I never see the end product – it is more of an organic process fro me. Sometimes I make a piece in a couple of hours, sometimes it takes me a couple of days to finish one.

Have you had any unusual request from a customer regarding customizing their jewellery?

Not yet – ha ha.

What would be the best route to take for someone who wants to become a jewellery designer, but doesn’t know where to start?

Being self-taught , I would say if you think you like making jewellery – take an evening class as there you will be surrounded by like minded people.Also, you will be taught different techniques, etc which can speed up your learning process, also having a tutor will allow you to avoid a lot of mistakes!! After that you will have a clearer idea of what type of jewellery you would like to make – be it beaded jewellery, precious metals and so on- the world is your oyster! And as a totally random question -‘Lindt’ or ‘Swarovski’?! At the moment Swarovski!!!…I use Swarovski crystals in my designs all the time. The quality is second to none!

For more information contact algis@jolitajewellery.com Link: www.jolitajewellery.com

Interview: Tanayha Mcleary

Illustration from RAMADAN MOON (written by Naima B Robert) copyright: Shirin Adl – all rights reserved

.…if it wasn’t for my poor husband, Kamyar (who came along later when I had already chosen my career path) I would probably have given up on this many years ago.

KAMYAR is a photographer

Bike Mechanic / Shahr-e Rey-Tehran copyright: Kamyar Adl – all rights reserved

….in real life things are not always exactly how you want them to be but that’s the beauty of it !
….combined they are a couple with two very distinct eyes.

Fattalent spoke to them both about there about their backgrounds and their art.

_______________________________________________________________________________________________________

Name: Shirin Adl
Age: 34 – born in Harlow, England
Lives: Oxford, England
Occupation: Illustrator / Story teller

_______________________________________________________________________________________________________

Illustration from RAMADAN MOONShirin Adl – all rights reserved (written by Naima B Robert) copyright:

Shirin Adl was born Shirin Saramad in Harlow in 1975. A little while later she left England for Iran and decided to stay there as it seemed like a good place for growing up. That is to say her grandparents’ garden was a great place for ant spotting…..In 1994 Shirin went back to England and really loved it as they not only had decent ants over there, but also had lots of dogs and woodpigeons too.

When did you first get interested in story telling and illustration what attracted you to it?

I’ve been interested in story telling and illustration ever since I can remember really. My mum got me interested in drawing when I was very little. She would spend ages drawing little pictures with me. She always says she’s terrible at drawing but of course as a child anyone who can draw a dog that doesn’t look like a horse, is up there with Renoir and Caravaggio for you!
The story telling thing came from a lot of people. My parents and grandparents were all wonderful at telling stories. But the main influence was probably my father who is a great writer. He would write away all day and at night the three of us would huddle together and read what he had written that day under candle light. We weren’t crazy, it was just that there were a lot of power cuts during the war.

Sketchbook drawing for EID copyright: Shirin Adl – all rights reserved

Your childhood in Iran seems to have been great influence?

Yes of course. That is a very important part of my life and what made me, me so I’m always going to draw from that. In my writing I keep going back to that time too as there are just so many stories there to be told. I just remembered I was once reading the memoirs of this poor girl who had a terrible childhood, being dragged around India by her parents. After she had spent the entire book complaining about what a hard time she’d had, her father gave her a framed New York Times cartoon showing a teenage girl wearing a tight ponytail and round glasses, sitting in a window seat, scribbling furiously in a notebook and the caption read something like, “Thank you for a wonderful childhood Mum and Dad. You have robbed me of the chance of ever becoming a successful author.” I liked that a lot! I used to feel that way myself when I was younger. I do hope that is not the case though as I’ve had a very wonderful childhood indeed.

Book Jacket from Ilkhanan-eh IranShirin Adl – all rights reserved copyright:

What was the attitude of friends and family to this interest/ possible career?

They were very happy about it as far as I could tell. To my family it was much more important to do something you enjoyed rather than something that made you a lot of money. However if it wasn’t for my poor husband, Kamyar (who came along later when I had already chosen my career path) I would probably have given up on this many years ago. It was absolutely wonderful to have someone so supportive of my work. We would definitely have been a lot more comfortable if I had a normal job and a proper salary but he was still happy with me doing my artwork and supported me through all the hard times.

How was this viewed in the society you were brought up in?

A lot of people don’t really know much about illustration and it doesn’t help that they insist on calling it illaastration! I did get a first for my degree, won a competition and was short-listed for another one and ended up meeting the Queen though so people can’t help but be impressed even if they’re still not quite sure exactly what illaastration is all about!

Illustration from Grand Prix vs. Aloo EsfenajShirin Adl copyright all rights reserved -a short story by

Was it difficult to get accepted into the profession?

Yes it was. As I’m sure most artists would agree, it is really hard to make a name for yourself in this business. Here having grown up in Iran really helped though. A lot of the work I’ve been doing has had something to do with Iran. At first I was a bit wary of becoming typecast but now I love it as it has brought a lot of wonderful projects my way.

Any particular subject matter attracts you most?

It’s all great to me really! I guess funny children’s books are the best but doing editorials is great too. I like the challenge. A little while ago I did a few illustrations for a piece about parliament which I thought was going to be really boring but I ended up enjoying it a lot. As our tutor used to say, “a brief is there to serve you” so I always find a way of making any subject work for me.

A House Party, Tehran-style – comissioned by Channel 4 Copyright: Shirin Adl all rights reserved

Any illustrators/artists that you admire or have influenced your work?

Ralph Steadman, Sara Fanelli, Sara Midda, Lydia Monks, Gahan Wilson (my dad had one of his books and I used to look at it over and over again, even though it did scare me a bit!) Vladimir Radunsky, Ahmad Shamloo and of course my Father, Farokh Saramad

Shirin has two books that she has illustrated coming out this year.
RAMADAN MOON by Naima B Robert comes out in July 2009. It’s a poem about the month of Ramadan, told from the point of view of a child who watches the progress of the moon, from one new moon to the next.
The second one is called, PEA BOY and Other Stories From Iran, retold by Elizabeth Laird. This was a project that Shirin particularly enjoyed having grown up hearing some of these stories. The book comes out in September 2009.
Both books are published by Frances Lincoln Publishers

Some of Shirin’s wonderful illustrations can be seen on Fattalent.com But also check out her website at www.shirinadl.co.uk and her blog Shirin in Engelstan

_______________________________________________________________________________________________________

Name: Kamyar Adl
Age: 34 – born in Tehran, Iran
Lives: Oxford, England
Occupation: Assembly Associate at BMW Plant, Oxford

_______________________________________________________________________________________________________

What got Kamyar most excited about Photography, was shooting mainly his close friends and later on people in the street and their surroundings.
Growing up in Tehran may have been one of the reasons behind this interest.
“ …..If you can handle the traffic and pollution in my opinion Tehran is a great place for street photography. I still look forward to taking pictures there every time I go back.”

Hat Shop -Covered Market, Oxford copyright: Kamyar Adl all rights reserved

Stereo Man – Mirdamad, Tehran Copyright: Kaymar Adl all rights reserved

But whether it be the hustle and bustle of Tehran or the outwardly gentile streets of Oxford, Kamyar’s razor sharp eye captures images vibrant in colour and composition. If a camera was meant for someones touch then there’s no doubting that one at least has found a loving hand.

But where did it all begin………

My Uncle used to send National Geographic Magazines from America to me regularly when I was a teenager in Tehran. He thought I enjoyed the articles but my English was not that good at the time and I used to just look at the pictures over and over again. I think a combination of looking at those images, my love for anything mechanical (including my brother’s Nikon EL2) and later on one of my close friends (Afshin Ghaderpanah) who was a professional photographer got me interested in Photography.

You mentioned (on your site) your brother having a camera that you used when he went off to study -were there any other photographers in the family?

My brother’s Nikon wasn’t used that regularly. It was mainly for special occasions like birthdays or holidays but my father’s cousin kamran Adl (coincidently with a similar name to mine) is actually a well-known professional photographer in Iran but because my parents were separated when I was three and I was raised mainly by my mother’s side of the family, I knew him only by name until I contacted him later when I was studying photography in Tehran. He was very kind and showed me lots of techniques in his darkroom.

Most of your photographs seem to be of people -either in formal groups or isolated in a urban landscape?

That’s right. I did try lots of different things but what got me most excited was shooting mainly my close friends and later on people in the street. When I go out shooting this is what I am constantly looking for, people and their surroundings.
I think growing up in Tehran might be one of the reasons for choosing this kind of photography. If you can handle the traffic and pollution, in my opinion Tehran is a great place for street photography. I still look forward to taking pictures there every time I go back.

Inside Barbari Bakery -Naazi Abad, TehranKamyar Adl all rights reserved Copyright:

“Colour” seems to play a very important role in your shots and their composition – often strong and vibrant, -is this deliberate?

Not always. I try to be careful where my main subjects and also the lines and surfaces are within the frame. In terms of colour I just try to find enough contrast between the main subject and the background to make sure it stands out and the colour of the background objects or surfaces are not distracting too much.
But saying that when I find the right subject in the street I just compose and shoot. They might not have my favourite colour combinations or even compositions. You don’t always have time to rearrange things and in real life things are not always exactly how you want them to be but that’s the beauty of it. You discover so many things that you never thought would work.

Chadoor in Bazaar, Tehran Copyright: Kamyar Adl all rights reserved

Any photographers/artists that have influenced your approach?

I think films in general and amongst photographers, Abbas (Magnum photographer), Boogie photographer, Sebastiao salgado, Henri Cartier Bresson, Martin Parr, Trent Parke, Nils Jorgensen and all the photographers in www.in-public.com and lots more.

……any ambition to take it up professionally?

Oh yes ! I do think about it all the time Even if I can’t make a living out of it I do want to take photographs regularly and put up frequent exhibitions in the future.

South Park Today, Oxford Copyright: Kamyar Adl all rights reserved

A selection of Kamyar’swork can be seen on fattalent.com
To view his whole collection visit his website at www.kamshots.co.uk

_______________________________________________________________________________________________________

Interview: john warwick
tashakkor to: Shirin & Kamyar

Name: Sylvie Bendel
Age: 39
Location: Germany
Occupation: Photographer/Artist

SELF PORTRAIT copyright Sylvie Bendel all rights reserved

Shooting with either a Nikon D700 or a Nikon D80, mounted with a
Nikkor 85/1,8, nikkon 50/1,8, nikon70-300/4,5 vr, or a nikon 17-35mm/2,8.
Sylvie shoots with an unquestionable passion and a true sympathetic eye.
Despite the fact her images are captured digitally, the end results bask in a film like quality that is hard to put your finger on.

Fattalent asked her about her remarkable style and choice of subject matter…..

I love analogue pictures! they have something quite magical…
some day I will get a Hasselblad 80mm or a Leica or a Yashika…or,
or…

People ask me all the time about how I achieve the look of my images
(and when I finally start shooting film ;o), but I really really can’t
give a definite answer, because I could never recreate an image.
- No film yet. only digital and a lot of photo-editing sometimes, not all
the time.

I just can tell you that I let myself go while shooting and re-creating it afterwards.

I am particularly struck with the images of older citizens that you take -is there a
particular attraction to old age, of days past?

Good question! I worked with old people for many many years and so I got a certain sense of what they are like. I hate the fact that most of them don’t like to look into the mirror, although they are so beautiful.

I love the characters, I love their history or the history their wrinkles tell us. and most of all: I hate the fact that they are lost in our society.
…Basically, it must be love for all sorts of people – and most of all
for the ones with no lobby.

Untitled copyright Sylvie Bendel – all rights reserved

I think a lot about society and the world how it turned out to be. most of the time I am really worried about the state of mind people are in and how it will turn out in the end…
I think at a certain stage you just have to wonder about the world and
you have to doubt. We are all part of it.

Untitled copyright Sylvie Bendel – all rights reserved

Which other photographers (if any) have influenced you?

Do you mean the great ones like Henri Cartier-Bresson? – well, I guess it is a mixture from all sorts of the arts.
But if you ask for photographers it would be Nicholas Nixon, Bruce Gilden, Mikhael Subotzky, Zana Briski…

I look at at least a hundred photographs each day, but I am really choosy.

Important to me is the emotional impact.

_______________________________________________________________________________________________________

.…..and emotion clearly floods her frames.

Her images force us not only to look at people differently but perhaps more importantly, also to question ourselves.

This is remakable work and her flickr photostream is an essential bookmark for any aspiring photographer.

A selection of SYLVIE BENDEL’s work can be seen on FATTALENT.COM

_______________________________________________________________________________________________________

Interview: john warwick
Many thanks to Sylvie Bendel

The creative forces behind ZSEGA are Jessica Richard and Zsuzsa Kovacs , both graduates of Vivienne Westwood’s fashion course at Berlin’s prestigious University of Fine Arts.
Fattalent’s Ady met up with Zsuzsa and popped a few questions.

Firstly I’d like to congratulate you on creating such a great brand, looking through your forthcoming Fall-winter 2009 collection was heavenly, I fell in love with so may of your designs!…Please give us an insight into your background, how did you both meet and begin collaborating?

My designing partner, Jessica, and I met while attending Vivienne Westwood’s prestigious fashion course at Berlin’s University of Art and Design, we immediately formed a strong friendship and creative collaboration that has lead to establishing our own designer line, ZSEGA. However, after finishing the course, we both started doing different things: Jessica moved to London and worked for Vivienne Westwood; I stayed in Berlin and joined InJuly, a high-end accessories label.
In early 2007, we decided it was time to do what we have been dreaming of, and this is where fashion model Regina Ujhazi and attorney-at-law Barbara Reardon came into the picture, we joined forces and started the label ZSEGA in February 2007.

For a successful design duo to work I guess you have to be on a similar wave length. Did you have the same visions from the beginning of the working relationship or is this something that evolved?

As I mentioned earlier, Jessica and I immediately formed a strong friendship and creative partnership that has carried throughout these years. We have created an original twist on modern fashion by venturing outside of expected linear concepts and by infusing bold and sophistication with organic elegance. Draping layers of texture and color are infused with original patterns and hand-made prints, yielding ZSEGA’s signature look and unique style. The details, such as carefully chosen patterned silk linings, unique buttons, and hand-printed trims make the ZSEGA garments feel very expensive without sacrificing the fun energy intended with the original design concepts.

Where do you draw your inspiration from?

As most artists, we get our inspirations by simply observing people, faces and places that surround them. We see the stories behind people, and it’s these stories that lead to creating a collection. The cuts, colors, and fabrics are meant to reflect the times, the mood, and the cultures where these stories take place. Beyond this, ZSEGA’s originality and unique style are directly attributed to our separate interests and influences from growing up in two different countries. I’m from Budapest, Hungary, and Jessica is from Berlin, Germany, and we have blended our own histories together to create a fashion-forward way of thinking. These influences are expressed in ZSEGA’s collection with an artful design quality, consistently present from one season to the next.

Your brand has earned instant acclaim by being honored with Blaec’s 2007 New Designer Award and the Editors Choice Award in the StyleBakery’s 4th annual On the Rise Awards 2008….tell us a bit about this and how it cam about?

Collection 1.0 – New Designer Contest was sponsored by Blaec.com – we had to submit four original pieces for a Spring-Summer 2008 collection and they selected 8 finalists and featured their pieces on their web site for a month. Visitors to Blaec.com could comment on and vote for their favorite collections and Blaec.com carried the top collection on their site.
The StyleBakery’s 4th annual On the Rise Awards 2008 was sponsored by three of the Web’s foremost supporters of emerging fashion designers, StyleBakery.com, Ravinstyle.com, and Métier Magazine, honoring the hottest independent designers for 2008.The ‘On the Rise’ Awards are the perfect opportunity for their readers to let them know who they think are truly making waves in the independent style community. Thousands of fashion fans logged onto StyleBakery.com this spring to nominate their favorite emerging designers in the following categories : Jewelry, Handbags, Accessories, Clothing, Babies & Kids and Beauty. Based on these nominations, the StyleBakery.com editors determined the best in each category. A “readers’ choice” nod was also awarded to the designers receiving the largest number of votes. In addition to appearing on StyleBakery.com, the winners were featured in the November issue of Métier Magazine.

Who are your fashion icons?

Vivienne Westwood – of course …. and Coco Chanel.

_____________________________________________________________________________________________

ZSEGA is featured in the Fashion Section of FATTALENT.COM

Website: www.zsega.com

_____________________________________________________________________________________________

Thanks to: Zsuzsa

Interview: Ady.O

– with a dash of high energy and everything chocolate – smooth, rich, naughty and lots and lots of other stuff.

Name: Monica Dhinn
Occupation: Hip – Pop and RnB Songstress

Who was your biggest musical influence growing up?

Man I just love music, When I was growing up it was all about the slow jams and anything I could dance too so I’d say jodeci, swv, micheal Jackson, Madonna, Biggie, lil kim and foxy brown. anything I could jam too!!!

You are a British female coming up in a male dominated industry that finds its roots in the USA. Do you feel that UK female artists are given the respect they deserve?

Erm that’s a tricky question to answer, as I don’t think it’s as black and white as that let just say to keep it simple its hard work as a female, but ill enjoy it when i get there and it will all be mine wahhhhahahhahahahaaha (thats a dracula laugh)

It’s no surprise that sex sells, do you think it’s fair that some female artist’s are stigmatized for this?

Nah course its not fair, sex sells everyone loves a bit of sex, each to there own just because a female adds some sexyness to spice things up, doesn’t mean her quality of music is no good. Besides men sell sex too, hot women in videos dancing up on them, hot clothes, sunglasses, fast cars and everything else that makes the opposite sex excited – and we still like and respect there music. So what’s the problem?

It’s refreshing to see to see; you take a light hearted approach to your music. Urban music has many negative associations; do you think more humour is needed in the industry?

Erm I think it would be nice to hear more positive music but I also think in this current state that the uk’s in its hard to be positive and sometimes as an artist you can only reflect on and write on your experiences and not everyone is finding life funny. God knows im trying my best to smile. When I write my music im just trying to express myself the best way I know how I love entertaining and I like making people laugh/think and experience chocolate blonde. If the crowd I am entertaining can take some of that experience home to add a bit of sparkle to there day that’s cool.

With the recent wave of successful Brit artists in the USA, do you see yourself working over there?

Yeah I’d like to go to the states I think that’s a wonderful thing to experience, performing infront of a different audience to the one I have grown up with. I’d also like to perform in Africa, Japan, Europe and Australia too. I just wanna be happy as long as I can perform and live of it then I’ll go where success takes me. xx

And last but not least…. which do you love more shoes or chocolate ?

oooooooooo that’s a hard one as I need shoes to get to the shop to buy the chocolate. But then that’s what the internets for lol. Soooo it has to be CHOCOLATE yummm!!

Thanks: to Monica

Interview: Andrea Dodd

In a bid to remind people of their curiosity and excitement experienced most strongly in childhood, we try to fashion objects and environments re-connecting us to that childlike enthusiasm, the instant reaction to new and exciting objects and activities that a majority of “adults” have lost somewhere along the way….

Name: Sandra Bamminger

Age: ?

Occupation: Designer

Hi Sandra, the label has been around for nearly 9 years now….how did the journey begin?

Well actually i originally came to this country just to stay for one year.. to do a Foundation in Art & Design. However I really liked the feel of the art world, found myself passionate about creating wearable sculptures, applied to Central Saint Martins College, got accepted and as you’d say the rest is history.

I love the design concept and your brand definetely stands out from the crowd! Where do you draw your inspiration from?

Originally most of them were a response to reading up on black & white Art books on kinetic art from the 70s… As I got really disappointed that most of the Artists by the time of reading (around 2000) decided to incorporate elements into my clothes range. To me those ideas just captured everything about futurism and how the future should look like to me.

These days I still get inspired by sculptures but just as much by ancient craft techniques new to me, ready to be reinterpreted. Recently I have also got really excited by print again and I am off on a venture of turning holiday pics into psychedelic black and white op art screen prints.

You use a varied range of materials in your work, from silk & hand-made embroidery & to knit & crochet. What’s your favourite material to work with?

Usually its whatever material that gets me the effect I am after. I remain quite open to everything I haven’t done before, so one year i may do lots of traditional crochet while the next I am lusting after heavily printed smart fabrics, while all along i use crazy hatmaking materials to create sculptural shapes.

Theres some amazing design elements that defy the laws of gravity!…their almost like works of art. without revealing too many secrets what materials do you use to create the ‘boing’ effect?

Well, when I first started making bouncy dresses I faced a bit of a dilemma: i wanted the shapes to be rigid and stand out by themselves, while still responding to the wearers and their movements while still being light enough to be realistically wearable. So via lamp design and some lamp making, experimenting with casts made from plaster, metal, wood etc. I found that a combination of perspex rods and hat making fabrics that have stiffeners incorporated into them automatically make a good pairing. I am still reworking and updating this technique constantly.

I noticed that a majority of your items can be hired..what made you decide to offer this option?

I actually worked on a business model for the Princes Trust, plus I also sold lots of items to hire shops in Paris & New York. Especially in New York hiring out design items for special nights seems a well established way of getting the often young and hip but rather cash strapped potential wearers what they want. Perhaps the credit crunch will make it easier to finally import this practice over here too?

You have also branched out into millinery with your latest website including hat designs (sandrabamminger.com), has this always been a passion of yours?

Well as I had been exploring hatmaking fabrics for years without actually ever placing them directly on the head I have finally managed to get round to make a hat.

And finally we always like to end on a random note….jaffa cakes or digestive biscuits?

Ohh.. that depends on the day. I probably hardly ever would turn down neither. However right now, I’d really fancy a digestive biscuit (perhaps the really posh ones with a caramel layer too)

Sandra Bamminger’s inspirational work can be seen on FATTALENT.com

Other links: www.houseofboing.com / www.sandrabamminger.com

Interview: Ady.O

Color and texture feature quite heavily in my designs. My inspiration comes from past and present art and fashion, nature’s beauty, and everyday life. I love quirky and fun and am always looking to give my pieces that little bit of a twist!

________________________________________________________________________________________

______________________________________________________________________________________