designer

Getting to know Kohenoor Kamal: designer and illustrator

This week we talk to Kohenoor Kamal, a designer and illustrator from the North West on the highs and lows of freelancing, what sparks creativity and her favourite spots for inspiration across the North.

Can I start by asking you a little about yourself, where are you from and what do you do?

Hey Jenna! I’m an illustrator and designer based in the North West of England. I have been freelancing for a few years now and enjoy making bright, colourful works, which are influenced by my passion for colour, texture and detail.

I grew up in a Bangladeshi household surrounded by delicious Bengali food as well as the beautiful culture that comes with it. I think a lot of this has had huge influence on my work, from the intricate and detailed clothes my family wear to the food that my dad (a chef) cooks.

Growing up with a traditional Asian background as a first generation Bengali meant that I grew up with a lot of pressure and expectation of what kind of career I should have been looking at. The kind of person that I am always wanted to reject these expectations and pursue my own path of working in the creative industry.

I had many battles with my family about them supporting me on this journey and I think they found it quite difficult to accept that I wanted to pursue this venture as they are from a working class background and their main focus was to make ends meet. I think since then I have been very fortunate that they have been able to witness my passion for creating art and the work that I have been able to get off the back of this, which I am grateful for.

When did you decide that you wanted to be a designer and illustrator?

I have always been a creative person, but it was only when I went to university that I felt like I could use that creativity and work within the creative field. The good thing about the university that I went to was that I was able to explore different specialisms outside of design, some of those things included animation, illustration, photography and art direction.

At university I felt like I had the tools and knowledge on how I could pursue working as a designer and illustrator. Even though I had trained and studied within the realm of graphic design, I always had an interest in subjects outside of this, especially illustration. I would go on to embedding this into projects using my knowledge of design principles and experimenting with how I could play around with this hybrid of specialisms and use creative problem solving to answer briefs and produce artwork.

My course emphasised the integration of the contextual nature behind projects and this framework helped form the decisions behind my work, such as thinking about how I can make a meaningful impact with a design with the consideration of aesthetics too. In the past, I would make pieces of work that were visually appealing, but I think this extra consideration has helped me make more meaningful pieces of work.

How did you go about getting into the creative industries?

I think the key thing for me was integrating myself into the creative scene, particularly going to events (even virtual ones) and talking to different people. I used to find this nerve wracking, so to help me get out of my comfort zone I asked a friend if they would want to attend events with me to make things a little less anxiety inducing.

Social media has played a huge part in where I am now and the kind of work that I have been able to get. Whether that’s posting new work on Instagram or connecting with different pages that promote people’s work or creative resources where I have shared my own personal experiences on how I got into the industry.

How would you define your design style?

My design style is a combination of things , I like to embed texture into my work wherever I can as well as using bright and engaging colours. I have also incorporated illustrative features into my work to resonate with my differing creative qualities that I enjoy working on and combining all of these lovely things.

What projects are you working on at the moment?

At the moment, I’m working on a number of projects whilst I have the availability. Last year, I was juggling a number of projects, which was really exciting but also quite time consuming so I am now focusing on developing and experimenting with illustrations of food, portraits and animation.

I have a project that I did early on in the year with Root-ED and I was able to exhibit some of these food illustrations. Here, I illustrated an array of key ingredients featured in recipes which people had contributed to them. After doing this project I played around with more of this in my spare time, such as illustrating a recipe card of my own, which includes the ingredients to a special recipe of mine which my parents had taught me.

Animation has also been something that I have been playing around more with since working with Leeds Inspired to help them produce Call to Action artwork for their grants and website. There is something very fun about working out the logistics behind simple graphics and figuring out how to make something move fluidly.

What have been some of the career high and lows so far?

I am proud of the fact that I have been able to establish a career in an industry which can be quite cut throat especially having had obstacles in my way and out of my control, such as finishing my degree throughout the first lockdown and graduating into a pandemic, which left me and many of my peers with so much anxiety and uncertainty about whether we would be able to pursue this.

I’ve also been able to transition from one industry to another as well as be able to go back and forth between the two. With illustration and design, for a good amount of time I didn’t think I’d be able to pursue any illustration-based work but I think this was more about my lack of self-esteem. With time I’ve started trusting my process and seeing the engagement that I’ve received has proved that I can do both.

Something that I didn’t expect from working as a freelancer, is how much work can fluctuate from one extreme to another and managing my own expectations and setting boundaries. It can make me quite anxious when there are periods where it’s very quiet because it feels as though I won’t pick up any more work, but something that I’ve learnt is to look at this in a more positive light and utilise this time by working on more personal projects and refining my skills.

Also, I didn’t expect how reliant I would be on social media for getting new clients and also putting myself out there. It can be a double edged sword using social media as a freelancer and in your spare time, as well as the blurred lines between being on Instagram all the time and checking how much engagement you might get on a post or stories. I think it can become quite consuming when you fall into that state and I know that many people, myself included, still feel this way. But, I’m still thankful for having access to things like Instagram and Twitter where, even though I don’t have that many followers, I’ve been able to find so many more creative friends who are dotted all over the place.

I think another aspect I’m really quite proud of is the fact that I’ve been able to transition from one creative industry to another as although I studied a graphic design union, I actually wanted to study illustration but I wasn’t able to get onto this course at my university so I made use of what things I could learn on my course and then carried this through to what I was actually passionate about and I ended up creating this sort of hybrid of illustration work, which has subtle tones of design principles behind it and I think that’s what makes my work stand out. I’ve always found it tough to pinpoint myself because I have this multidisciplinary practice, which is inspired by so many different creative fields and it’s hard to say oh yes I’m this one particular thing but I think that’s just the nature of creativity.

What inspires you as a designer?

I feel like at the moment I am fluctuating between lots of different things I would love to work on or people I would like to work with. I have always admired the work of Studio Moross and I have been following the work of Aries Moross since I was in college. I love their use of experimental components using colour and texture. As well as this I love the work of Sha’an d’Anthes. The friends that I have made over the course of this journey have also played a large part into what I’m inspired by as the work they do motivates me to see the kinds of things that they are getting up to.

What would be your ideal project to work on?

My ideal project at the moment would be to work with more musicians. Whether that’s in the capacity of producing albums or single artwork or being able to work on print-based ephemera, as I have always had a passion for tactile things such as screen printing and making things with my hands. I think something that I’ve found since making the transition to making more work digitally, using programs such as Procreate, is that I don’t use many handmade processes anymore but this used to be something that was the key focus behind my work.

Could you tell us a bit more about the poster you created for In Good Company Leeds’ poster campaign?

Being able to work with Laura Wellington, my good friend George Brown and Kate Phipps on producing this poster design, as well as being able to see it large-scale plastered all over the UK to celebrate key workers — this poster design was probably one of the most exciting projects that I worked on last year.

I wanted to highlight some of these key workers and I illustrated a few people from mine and George’s family who are key workers. For example, I included a small illustration of my mum into this project and as a nod to many key workers who have worked really hard throughout the pandemic. In the design I wanted to portray a sense of empowerment and feeling proud that these people have worked really hard, and all sorts of colours are used to make it eye-catching so it could be visible in a variety of environments. I’ve actually had nurses, paramedics and teachers get in touch saying thank you for being part of the design.

At the time, George and I had just graduated from the same course and while both of us are very passionate about the work that we do, we were finding it hard to land design roles and jobs because of the uncertainty during the pandemic, so we were really grateful to have this opportunity to work with Laura and to make this poster design because it’s not often you get to go straight from university to having your work displayed on a mass scale, whilst also raising money for a good cause.

How has the North shaped you both personally and professionally?

I think the people have definitely had a huge influence over who I am today. I have met so many wonderful creative people in all kinds of industries and being able to learn about different people’s perspectives has only helped me become more open minded as a person as well being there to push me when I’ve needed it to pursue a project that I’ve wanted to do and put off.

As well as this, going to university in Leeds where there is an amazing network of creative people as well as the city in itself. I regularly go to exhibitions and meet up with creatives who are based there. Leeds has been the apex for a lot of things for me and I consider it a second home for me just as it has allowed me to find the confidence I needed to push the boundaries of what I could make and beyond.

Where are some of your favourite places in the North?

There’s too many to count but some of my favourite things to do in the North include popping into local independents to do some work and also catching some downtime with friends. Some of my favourite restaurants in the North can include Bundobust, Cafe 164 and Rudy’s Pizza as well as galleries such as The Whitworth and Yorkshire Sculpture Park, where I go to get inspiration for new work.

What do you like to do outside of work?

This is a tough one as a lot of the things I love doing surround creativity in some form or another. I think my favourite thing is to go exploring or to see friends. Working as a freelancer, I find that often I’m either swamped with work or I have much quieter periods, so I like to use the most of my time to catch up with friends and go to galleries, cinemas and restaurants. I also enjoy cooking when I can. I grew up with Bengali food with my dad being a chef and I think that’s where I get my love for food from, I find it the most soothing thing to do when I feel stressed.

Interview: Jenna Campbell

Imagery: Courtesy of Kohenoor Kamal

How my tools as a Design Researcher have helped me handle these tumultuous times

Words: Ishika Mukherjee

What a time to be living through. In the last few months we’ve seen the peak of the COVID-19 pandemic, endured lockdown, witnessed the fall of major economies, mourned the tragic deaths that led to the urgent acceleration in the anti-racism movement and infinite more conflicts emerging or saturating across the globe. On a personal level, people have lost jobs, been furloughed, or have had to work remotely – each in its own way drastically changing our lives and more often than not, our priorities.

I’ve been one of the luckier ones in the fact that I’ve been able to keep my job and continued working remotely. As a design researcher, my role is to connect with and understand people – dig deep into their implicit behaviour, their needs and their pain points in order to design integrated services that empower people and the planet. To do this, I use an array of techniques, tools and skills.

Of late, what’s been interesting to me is that a lot of these design research tools have come in quite handy, as I’ve navigated the tumultuous times we’ve been faced with. The most obvious (and yet underrated) was thoroughly checking my sources. Now, while the majority of my work is to do with actually spending time with people and learning about them first hand – we also do a significant amount of secondary research. This includes reading through and taking insight from research that has already been done – like market research or research papers or surveys. The decision as to how we choose what information to take in, comes from evaluating the source and understanding their accuracy. This practice came in super handy when the Coronavirus first hit and we were all left to sift through piles of unregulated information (and misinformation) regarding the virus we knew so little of. It has since kept me well-armed to cut through the noise of often exaggerating media, and focus on reliable sources like government websites, WHO and medical experts.

Another practice that has kept me sane, has been the 5 whys – asking a sequence of whys to get to the root of our users’ needs. In design research, we use this to better understand our users so that we’re not left solving superficial problems without reaching the core of the matter. But lately this is how I’ve handled my anxiety around the uncertainty of the future as well. Every time I’ve found myself thinking of catastrophes, I’ve asked myself why I think that could happen and then followed that up with a number of why’s (or questions) to reach the crux, which is usually the fact that I don’t possess enough information that actually signals doom.

The 5 whys have also come in useful when trying to educate myself and the people around me about anti-racism, micro-aggressions and implicit prejudice. We all have biases, and to discard them, we first have to undress them and understand where they’re coming from – hence, a sequence of whys.

Another tool – one I almost left out because of how much of a buzzword it has become of late – is empathy. In research, the whole point of conducting user interviews, focus groups, and such, is to understand the user as they are – not as we think they are, or even as they think they are. How we do this, is by listening deeply, reading between the lines and observing people – their body language, their pauses and the emotions that flicker across their eyes. All cues to what they’re actually feeling. Operating in this space where all our mental states are shaken up, instead of asking people the “hi, you okay?” I try to notice, ask questions like “how are you today?” Or “what’s been occupying your mind lately?” and really listen, not just listen to respond, but really listen to how people are.

There’s also going one step further and listening without judgement. As researchers, our job is to understand, not change our users’ state or behaviour – at least not immediately. So we tell the people we speak to that ‘there are no right or wrong answers’. We give them the space to be themselves even if that might not be what I want to hear. We also make sure of that by not interrupting people or countering their statements with “but why don’t you try…” or “have you considered …” or “when that happened to me, I …”. IRL this looks like having unselfish conversations – instead of offering advice, just listening, instead of thinking about what I would have done, thinking about what they did. This has helped me connect better with my friends, colleagues and family, helped me feel less alone, and more purposeful. This has also helped me take better care of my own mental health and become less judgemental and more conscious of my own thoughts and patterns.

Now, while I’m very thankful for the practice of design research for teaching me the tools that have played out to be so crucial in these wary times, on further introspection it struck me odd. Shouldn’t it have been the other way around? Wouldn’t it make more sense, if being a more human human made me a better researcher, as opposed to the fact that being a good researcher has made me a more human human?

Which led me to ask, why is it that I had to be a researcher in order to be a better equipped human? Answer: because the tools to question, think critically, listen actively, and be empathic were not given much importance through my years of schooling. These are known as ‘soft skills’ in a world that applauds ‘hard skills’.

Why? Because since industrialisation, we’ve aimed for maximum efficiency and productivity over everything else.

I could ask why, but I gather you see where this is going. So I’ll ask ‘what if’? What if we make the shift to valuing our human-ness, our interpersonal connections, our deeper consciousness and ability to think critically without prejudice, more? What if we lace our education system with more ‘soft skills’? What if we change empathy from being a buzzword to being elemental?

Ishika Mukherjee is an interdisciplinary designer and researcher with a background in design research, service design, content creation, editorial writing, and architecture – and an acute interest in social innovation. She uses research from human experience and behaviour, distilled into actionable insights to aid the process of creating optimistic design that empowers humans to be more human. She likes to tell stories, drink strong coffee and read compelling fiction. And eat cake.

You can follow Ishika’s work on Instagram.

Community Matters: In Conversation with Danielle Rhoda, Illustrator, Animator, Designer

Originally from Poland, Danielle Rhoda moved to Manchester via Nottingham to study Illustration and Animation and has considered the city a home away from home ever since.

An extremely talented artist and illustrator, Danielle has worked with some of the city’s most exiting emerging creatives and agencies from Fuse Manchester and Yolk to cultural institutions including the People’s History Museum. Alongside creating her own prints and greeting cards, Danielle also runs The Big Drink and Draw, an online meeting place for creatives to connect with one another during lockdown.

We caught up with Danielle to talk about her love of the north, what it’s like for young creatives entering the workplace and the projects she’s proudest of.

Can I start by asking you to tell us a little bit about yourself?

I’m originally from Poland where I lived until the age of 13 at which point I moved with my family to Nottingham. I came to Manchester to study Illustration and Animation and stayed here since. I like to think of myself as a northerner at heart which you can tell by the way I love chips with gravy!

Did you know you always wanted to be an illustrator and artist?

Like many, I’ve had a strong interest in art and drawing since a young age. I’ve always loved making things, whether it was a painting or creating 3D shapes out of paper or clay. I’ve always had a thing for recreating things I saw around me.

Although since I can remember I fancied the idea of one day creating illustrated books it wasn’t until coming onto a foundation course that I was guided towards illustration.

When approached or commissioned for a piece of work, where do you start, what does your creative process look like?

Much to my surprise I have found a new passion for research! While I do begin drawing and noting down ideas as one of the first steps I cannot progress without finding all that I can about the subject. Having developed my practice around observation I need a good set of visual prompts which ground my style. My favourite way to do so is to go outside and draw from life. Even on the day to day (before lockdown) when out and about I would often have my phone at the ready so that I could capture interesting characters. They could then evolve and merge into illustrations. That and really trying to memorise people’s quirks and funky outfits.

Looking at your career to date, what have been some of your favourite projects that you have worked on?

To date it would have to be working with the People’s History Museum to create a visual language for this year’s set of exhibitions all around the theme of Migration. Having only been freelancing for a short time up to that point it was the first ‘proper’ brief I worked on. Such a great experience working on a topic that is so close to my heart. The team gave me pretty much total freedom and trust so I could really get playful with my style. It was also the first time seeing my characters play out in a live situation like this and on a range of scales. Of course, unfortunately, due to the lockdown, the museum has shut its doors and many events have been postponed so it won’t be until later in the year we’ll really get to delve into their exciting programme.

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You currently live in Manchester, where else have you lived and work and what impact did these locations have on you and your creative output?

Before moving to Manchester in 2015 I lived in Nottingham where I did an Art & Design Foundation course. During that time, my first ever job was working as a GA at the Nottingham Contemporary. For several years the gallery felt like my second home. I became a member of their youth program at the age of 15 and it was one of the best things I could have done. It gave me a real insight into the world of art. The team was very welcoming and I got to see many of the backstage processes to putting up exhibitions and creative events. That was a big influence for me at the time and spurred me onto pursing art.

What are some of the challenges of your profession, or more generally in the creative industries?

Not enough information. Very soon after graduating I realised how little of the business side we got to see or understand at university. Although it seems to be slowly getting better, the industry often doesn’t seem all that welcoming to graduates with many opportunities still happening in closed circles and behind closed doors. It’s incredible to see more and more people realising this and speaking out but more needs to be done in order to make the creative industries more inclusive and less privileged.

There are so many brilliant new creatives trying their way in every year and I strongly disagree with the mindset of ‘they need to learn the hard way because we did’. Of course when first starting there are lessons to be learned but I think we all should feel a collective responsibility to make the learning as easily accessible as possible. Sharing tips, discussing experiences, introducing people, shouting out about new talent, getting real about finance (!) and all in all feel a bit less protective of our knowledge and instead passing it on. That’s where the real progress can start, right?

Have there ever been any barriers for you as a woman in the industry? Or generally speaking do you think the industry is diverse enough?

The workplace in general, within and beyond the creative industry is not diverse enough. I cannot believe that in 2020 one might not be able to get into a certain role because of their gender and or background. However, it does feel like right now we’re in a very important moment where this is becoming part of daily conversation. I remember sitting in a lecture where the speaker explained how the majority of creative positions are taken by white men and I being neither white or male was prepping myself for a much tougher journey than many in this field. Saying that, I’m a strong believer in marching on no matter what and having the work speak for itself. I might be mixed-raced but beyond that and more importantly ABOVE that, I am just an artist.

What do you like about Manchester and its creative network?

The main reason for why I came to Manchester in the first place was because I’ve heard so much about its creative community. It is such an exciting place to be in right now, there’s a real sense of togetherness which is totally in line with the vibe of the city overall. I love the fact that we’re not as big as London; it really does feel like after a short while you start to recognise many faces.

The city is constantly evolving, especially in recent years, and more and more stripped back, real-talk events are taking place and I can’t wait to see what’s more to come. A little shoutout here to people, teams that made me feel more part of the community: Fuse, Yolk and of course NRTH LASS!

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Do you think it is possible to have a fulfilling career in the north?

I think it is definitely possible to have a fulfilling career in the north, there are many creatives who already do and have done so for a while. We are beginning to see a real shift of focus which is coming with talks about diversity and mental health. It is no longer imperative one has to move to London in order to have a great creative career. Technology is playing a big part in this but also the general want of representing more than one voice.

With this in mind, I still believe it is harder to get yourself going outside of London or the south in general but good things don’t always come easy do they! What’s interesting is seeing how other cities in the north are rising up to the challenge and the connections we’re all starting to build. There is real creative power here and the more people realise it the better it will get. (You wouldn’t be able to tell I’m not from here, freaking love the north).

What do you love about the north?

We could be here all day! I love the people, such a warm, friendly bunch. Chips with gravy, but I think I already mentioned that. I love finding out stories about the rich heritage of the north. Especially being based in Manchester, there is so much that’s been forgotten about and is coming to light again.

I’m a real sucker for the architecture as well; layers upon layers of different styles, giving the cities a gritty but beautiful texture and acting as physical time stamps. Also have you been to a northern city in sunshine? No one has the same appreciation for sunlight as a warmth-starved northerner, the whole place comes to life.

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A post shared by Danielle Rhoda (@danielle_rhoda)

Where are some of your favourite creative places to work and socialise in Manchester?

Before the lockdown it was the endless list of all the beautiful cafes, like Foundation Coffee House, my fave being the one on Whitworth St, Ezra & Gill and TAAK to name a few as well as hidden bars such as Double Down and the downstairs bar in Sandinista! I’ve always been a foodie. Socialising for me means eating so I’m very much looking forward to eating out again and hope Manchester’s food scene will thrive once again.

Outside of work, what are some of your passions and hobbies?

A trick question for any creative! Outside of work I still love drawing and art in various media be it film or music. As mentioned above I LOVE food, but in addition to eating I really enjoy cooking, it’s a great way to relax.

Have you pursued any new pastimes during lockdown?

I’ve taken up a bit of gardening, feeling a bit wiser than my age of 24. I’ve also gone back to some forgotten, abandoned hobbies of playing the guitar and piano and have been trying to read more. A book I’m currently reading is Half of a Yellow Sun by Chimamanda Ngozi Adichie.

If you could give your younger self one piece of advice what would it be?

To worry less and say yes more.

Are there any new projects or pieces of work that you would like to give a shout-out?

Currently, I’m tugging away on a collection of greetings cards I have officially become gold foil obsessed. On top of that I’m working on some very exciting collaborations and will be sharing them soon on my ig!

To see more of Danielle’s work and check out some of her latest projects head to her website or Instagram.

Danielle will be speaking at the next PechaKucha Night Manchester, Vol. 31 on the topic of ‘Migration’ on the 9th July, speaking about her work with the People’s History Museum and their programme on Migration.

Interview: Jenna Campbell

Images: Courtesy of Danielle Rhoda

Danielle Rhoda: Freelance Illustrator, Animator, Designer ( Maker of things)

Name: Danielle Rhoda

Job title: Freelance Illustrator, Animator, Designer

Ideas & Planning: My work usually focuses on people and places I’ve seen personally. I often begin with sketching or will turn to sketches I’ve done on-site. I used to be careful of not ‘over-sketching’ as I found that it turned out too static for my liking, I prefer it when the marks are loose and playful, often with some mistakes, it breathes life into the illustrations. I’ve never been a fan of details sketching, takes too much time and I quickly then loose focus. Like to spend a few minutes doing so and moving to the main thing! I’d describe my way of working as quite fast-paced but also carefully observed.

Finance: Just starting out in freelance so it’s in no way a stable income yet and pricing varies!

Networking: At univeristy and since I always tried to show up to various events but more for the genuine interest and networking just happens naturally then! I love to collaborate with local artists, it helps to loosen up and look at your practice from a different point of view. It’s super important to remain connected with other people in the industry, you never know what might lead to the next opportunity. Also as freelancers we might often find ourselves stuck in our own head a little bit, it’s so valuable having others to bounce your ideas off of and discuss issues as well as exciting developments.

Quote to live by – Progress is not linear

Instagram @danielle_rhoda and website www.daniellerhoda.com

Getting to Know Anita Smith: Sew What Manchester

Words: Amy Callaghan

It’s no secret that the fashion industry has more than a few skeletons in its closet. From dangerous working conditions for low-paid (but high-skilled) workers in clothing factories, to the £140 million worth of clothing that goes to landfill each year, fast fashion is one of the most exploitative and damaging industries operating today. And yet, the majority of people will turn a blind eye to this in favour of picking something up at the H&M sale or snagging a cheap new dress for a night out on Missguided.

Not everyone takes a blasé attitude, however – there’s an increasingly popular movement known as ‘slow fashion’, which prioritises buying less, buying ethically and buying to last. Slow fashion encourages a whole range of sustainable habits, such as buying secondhand from charity shops and vintage stores, investing in high-quality handmade pieces from independent businesses, and learning to mend clothes yourself instead of replacing them. We’re pretty lucky in the north – the sustainable fashion movement has real momentum here, and there are loads of charity shops and vintage stores to favour over chains.

There are also plenty of independent businesses that place sustainability at the heart of their service. Anita Smith, founder of one-woman business Sew What, is a Manchester-based designer and maker, who champions vintage, sustainable fashion. All her pieces are handmade – she generally designs vintage styles with a modern twist – and she also offers a range of sewing and style services to help people make more sustainable fashion choices and fall in love with their wardrobe again. We had the pleasure of speaking with Anita about starting her own business, slow fashion, and sustainability on a budget.

Can you tell us the story behind Sew What?

I was a teacher before I started my business, but I did fashion design at uni, and I wanted to combine the two somehow. I got a bit disillusioned with teaching and wanted to get back to doing something that was more creative and more fulfilling for me. I wanted to share all the skills I learned at uni, and my love for fashion – but not necessarily trend-led fast fashion – and combine that with teaching people how to sew, so they could learn to love it as much as I do. That’s where the idea came from, and I just went from there. I started with a studio at Islington Mill in Salford for a couple of years, and then moved into a shared studio, still in the mill. It’s a separate building with loads of other people that I already knew – it’s so good being in a collective space with other creative people, it means that you’re constantly being pushed and supported.

You mentioned wanting to share your love of fashion, but emphasising slow fashion over high street fast fashion. Can you tell us a little bit more about this and why you feel it’s so important?

Essentially, I love making my own clothes. I got into it in the first place because when I’d go to high street stores, there just wasn’t anything there that was exactly what I wanted, or the fit was all wrong. Also, looking at things and knowing how long it takes to make something and how much skill is involved, I couldn’t justify how little the prices were. For them to be that cheap it means that whoever’s making it isn’t getting paid properly – the maths doesn’t work. That’s how I really fell out of love with the high street.

It’s a mindset change, I think – it takes people a long time, because we’ve all grown up not thinking about the impact fast fashion was having. Now there’s a real momentum going and people have started to realise what effect fast fashion and the high street is having on the environment and people in the industry.

That’s where the slow fashion movement came from. Slow fashion is about taking the time and being a bit more thoughtful and a bit more conscious about what you’re purchasing, and buying quality rather than quantity. It’s about buying from businesses that are really transparent about where they’ve got their fabrics from and who’s made it. It might be that it’s a complete one off – you’ve had something made especially for you. It might be that there’s a really small batch. There’s something about knowing you’re going to walk down the street and you’re not going to see someone wearing the same thing as you that makes clothes so much more special. So it’s a mindset change of trying to think about your style, and what you want to wear rather than what you’re being told to wear by the high street.

Slow fashion has a bit of a reputation for being less financially accessible. Do you have any tips for people who want to shop and dress more sustainably, but are on a tighter budget?

I think it goes back to the idea of investing in something. Rather than buying five things that are really cheap, you can save that. Just buy one thing that’s better quality, that actually fits and fulfils the need that is there. What is the gap in the wardrobe? Save up and invest in that.

At the same time, you’ll hear people saying they can’t afford sustainable fashion, but they might shop in middle-range stores like & Other Stories or Cos. They are not cheap places to buy from, but people still don’t think they can afford sustainable clothing. There are cheaper brands out there that are sustainable – it does exist!

Part of it is also about trust. People have to trust that they will still get the quality products from small independent companies that don’t have all the marketing and publicity. It takes a lot of work to stop yourself buying lots of little things, and saving up for something, and trusting that that’s going to stand the test of time. Maybe we’ve all got used to Primark prices and sale prices. There are sales on all year round now, so it’s part of our psyche that we believe everything is cheap. And it just shouldn’t be – that’s not the real cost of things.

Can you tell us about the process behind designing and creating a bespoke garment?

I generally collect things from a vintage aspect, because essentially all the fashion that’s in stores references vintage fashion. Right now the 70s are back in, when I was growing up the 80s were cool again, the 60s are always in fashion. So I generally look back at clothes that I would love to wear now, and do a modern take on them. I’ll use a modern fabric, and adapt it slightly so it doesn’t look costume-y. You can make things look more modern just with the fabrics or the print that you use.

I do things that I think my customers might like and that will fit in their wardrobes but won’t go out of fashion. I also get commissions, where people say they really like something from my website, but is there any way it can be made with sleeves, or without a zip down the front, or with a collar rather than a pinafore neck. Making something specific for a customer is a real privilege – it’s an honour that someone trusts me to do that.

What’s your favourite thing about being based in the north?

The fact that I can afford to have a studio! There’s something very specific about being in the north where it’s almost like people haven’t quite realised how incredible the creative network is here. There’s a bit of a lack of other makers but it’s just because people don’t expect to find you there. It’s really nice to find other creatives that are in Manchester or Leeds or Sheffield – you can connect more with them because they’ve not done what everyone tells you to do and gone to London. People are really proud that they’re here, and they support other northern businesses. The support network, and how positive people are towards each other is just wonderful, an absolute dream.

And finally, as people are spending more time in the house at the moment, do you have any suggestions for steps we can take and things we can do at home to start to sort out our own sustainable fashion habits?

The fact that people aren’t going out means that they might start to realise that they don’t need to buy. There’s absolutely nothing wrong with going out and treating yourself – it’s not a shame thing and no one should feel guilty about it. But it might make people reconsider how much they own and how much they actually need. Maybe they’ll take a bit more time to consider – when we are set free! – that they don’t go out and immediately buy, because they have all this stuff at home that they can’t wait to wear again.

Or, they might find that they’re wearing things in different ways. It’s the best thing when you see your wardrobe in a different light, and you start to wear things together that you never would have before. On Instagram, Erica Davies has started a prompt – #ericamademetryit – challenging people to wear things they’d never normally wear. People are so excited about going out once a day, or going to do their weekly shop, they’re wearing all these crazy things. Now they’re wearing a fabulous 70s maxi dress that they’d normally save, because they’re desperate to wear something other than joggers – they can start pulling stuff out and getting it on!

I also hope it makes people realise that at a time like this, it’s the smaller independent businesses that need help. I’m sure everyone’s seen that ASOS and Boohoo are still forcing people to work, and they’re having sales to encourage people to buy stuff they don’t need. They’re not bailing their workers out; they’re not helping anyone apart from themselves. Little businesses are desperately trying to make sure their workers are OK, making sure customers get their products on time, and doing things for free for the NHS. I hope people take note of that after this is all over and really try and change their shopping habits to support the little guys – they’re the ones that need it.

You can find Anita on Instagram @sewwhatmcr and on Twitter @sewwhatmcr. Sew What’s Facebook is here, and the website can be found here.

Interview edited for length and clarity.

Community Matters: In Conversation with Rachel Cook, Graphic Designer

Originally hailing from Manchester, Graphic Designer and Lettering Artist Rachel Cook was raised not far from London, but moved back up north for university and has made the region her home ever since.

Proud of her Northern roots, Cook has firmly established herself in Manchester’s burgeoning creative community, joining forces with likeminded designers to create platforms such as Design Recovery to raise awareness around mental health through creative outlets and conversation.

Last year she bravely put her own mental health experience front and centre during her time as Design Lead at Yolk to create Two Minds, a collaborative print exhibition, which raised funds for Mind Charity. Here she talks to us about finding her passion, the role that design has played in her own recovery journey and why Manchester’s creative community is so special.

Rachel Cook speaking at the inaugural Design Recovery event

Could you start by telling us a little bit about yourself?

I’m a Graphic Designer living in Manchester. I was born here but when I was two years old we moved down south. However, six years ago I headed back to Manchester to study Graphic Design at Manchester Metropolitan University and have stayed here ever since. I now work for a design agency called Persona Tile, co-run an event called Design Recovery and am also on the PechaKucha Manchester event team.

How did you get into Graphic Design?

I first fell in love with Graphic Design back in secondary school, at my school we all had to do one of the Design Tech options at GCSE level and I chose to do Graphics. That course covered a lot more than just the design of a product, such as manufacturing methods and materials, but the part that interested me and piqued my interest was the design element.

Despite being creative growing up, I wasn’t really that into art, I just messed around in lessons and was politely told I probably shouldn’t take it at GCSE, but with Graphics there was something about the whole process of identifying the target audience, creating moodboards, and solving a problem creatively that got me hooked, and it was rare that something had me that engaged in a lesson at school (I was a chatterbox and didn’t care much for authority) so I knew it was something that I had to follow, and it all just developed from there!

Rachel Cook and Charlie Brown at the Two Minds event – © ON LOVE AND PHOTOGRAPHY 2019

Tell us a bit about your involvement in Design Wellness and the sister event series Design Recovery?

Myself, my partner Jordan and our close friends who run a company called Design Wellness go to lots of design events in Manchester and we started to realise that there wasn’t much of a focus on mental health. With the creative industry having such a high level of mental health issues, we knew there was an opportunity to create a safe, welcoming space for people to open up (if they wish) and to ultimately try and help broaden the conversation surrounding mental health. We’ve done two Design Recovery events in Manchester and they’ve gone even better than we imagined, which is encouraging.

I have a personal interest in helping support mental health awareness as I have experienced my own own problems with mental health in the past. My recovery from Anorexia taught me so much and since then I had been wanting to do something positive with my experience but I had struggled to figure out a way to do so that felt right. Art and Design can be such a positive way of expressing ourselves and I did a lot of that, but I wanted to do something that could reach more people. So starting the Design Recovery event series just felt like the perfect fit! The creative community in Manchester is already so close and supportive, so we hoped this would be a great addition and hopefully encourage the community to be more open when it comes to mental health.

The Two Minds Exhibition – Foundation Coffee Shop – © ON LOVE AND PHOTOGRAPHY 2019

In your experience, how do design and mental health relate to one another?

They both require patience and perseverance. The former is not my strongest quality as a person, that’s for sure, but you can’t get better overnight. You have to give yourself the time and space to grow and heal. Since working on my mental health I can see how impatient I used to be with design. I’d get so down if I wasn’t nailing every new skill straight away or producing ground-breaking work whilst I was still in university. But the simple fact is, all that pressure was having such a bad impact on my confidence so no matter how much I tried, I was never going to be happy with what I created.

Now, I really enjoy seeing my progress and developing my skills in my own time. All of that really just came with time and experience so if I could go back I’d tell myself to slow down and focus on where I’m at now rather than speeding ahead, just like I had to do with my mental health.

As a designer, how have you sought to illustrate your own experiences?

I do a lot of hand-drawn typography that allows me to visually represent a quote or phrase that means something personal or encouraging to me. I think it helps me to reflect on the experiences I’ve had with mental health, and reflecting means I can see how far I’ve come, view the experiences in a less negative light, and therefore continue to grow from them.

It also has an impact on the type of work I enjoy creating the most. I love working with positive companies and individuals doing good things for wellbeing, I recently I designed the brand identity for a therapist, and I regularly create typography social posts for Design Wellness so I get a lot out of those kinds of projects.

Poster for the second Design Recovery event series on resilience

How does Design Recovery help others channel their passion for design into something beneficial for themselves and those who come to listen to their talks?

Design Recovery gives people a space to share whatever they are comfortable sharing, in whichever way they want to do so with absolutely no judgement. Going forward, we hope that the more we speak about mental health, the more normal it will seem to talk about the struggles we are facing and we will see more and more people speaking up and getting help sooner.

It can also be a really reflective experience much like a personal creative project can be. For me, sharing what I went through has helped me avoid falling back into negative behaviours because it helped me see how far I’ve come and encouraged me to continue on the path I’m on now rather than going backwards. So whether it’s through an event, or creating a piece of artwork like I do with my typography, that ability to reflect on what you’ve been through and physically confront it through something positive you’re doing can be really beneficial.

How has moving to Manchester shaped and influenced you as a designer?

Developing my confidence is one of the key things that has helped me develop as a designer and I’d say Manchester played a pretty big role in that. I started attending a number of design events, which were available across the city and started to get to know the community in Manchester properly when I was in my third year of university and in that year my confidence skyrocketed from more or less nothing, to making me the designer I am today. But I think within the creative industry, wherever you live can influence the work you produce because you draw inspiration, sometimes without even knowing it, from your surroundings and what you take in everyday. Manchester as a whole is an incredibly creative city though.

What do you love about Manchester’s creative community and how does being a part of it help your mental wellbeing?

It goes without saying that the creative community in Manchester is incredible. It constantly makes me feel like I belong which has done wonders to my mental wellbeing. It’s also just really helpful to have people to speak to about the highs and lows of being a designer because there are so many people around that completely understand. We can all relate to one another based on our career, which is really nice and everyone is so willing to share their advice and help each other out which has been so valuable to me, especially when just I was starting out.

What challenges have you faced personally and in your career to date?

As a Graphic Designer it can be a pretty tough industry. It’s so saturated with incredibly talented artists and designers so to stand out is pretty difficult and can be a lot of pressure, especially with platforms like Instagram where there is so much design work online, making it a pretty competitive market.

However, that can also be motivating because it builds a drive inside you to keep developing your skills and create better work, despite the fact that it can still be quite challenging at times. I guess the important part is how you manage that pressure and let it encourage you rather than letting it get on top of you, but defining that balance can be pretty challenging.

What do you love about the North of England?

I absolutely love how proud everyone is to be Northern, it’s definitely one of my favourite things. There’s just such a sense of solidarity between everyone that I haven’t seen anywhere else and it brings people together. Even though I didn’t grow up here for the most part, I still find that I’m proud to say I’m originally from the north. (Plus I was two years old so technically I was moved down south against my will, I’m just saying.)

Looking forward, how do you think design can help others work through their own mental health battles?

I think we are already starting to see how fantastic design can be for wellbeing during the current lockdown situation. I have seen tons of creative solutions that people are coming up with to help others in a time of need. From colouring in sheets created by illustrators, to big projects like Play Playhouse that Playground Design Studio, Ben Clark and Barney Ibbotson have been working on. These are all to help support the wellbeing of each other and keep people entertained when stuck inside all day which is brilliant to see!

But I think in general, we should all do what we can to share our experiences through our own skill sets and passions. If the conversation is more open around mental health we will start to see more art and design that stems from people expressing themselves and their experiences with mental health.

Rachel Cook and her partner Jordan Yates at the Two Minds event – © ON LOVE AND PHOTOGRAPHY 2019

To see more of Rachel’s work visit her Instagram page here.

For updates on Design Wellness and its sister events programme Design Recovery visit here.

Getting to know Clemency Jones: Designer & Maker, Formes

Featured in Issue Two of NRTH LASS, Formes is a modern and artistic brand with a focus on the wearable everyday white tee. The brand’s Leeds-based Founder, Designer and Maker, Clemency Jones doesn’t believe in fast fashion; instead, she concludes that clothes should take time to make and be timeless to wear. From an environmentally progressive supplier and solvent free ink to zero waste, Formes is in-house, local and kind to our planet. It’s also extremely kind to our bodies – the iconic tees are comfortable to boot.

Sharing those initial steps in the pursuit of an ethical brand, from the conception and design, to the development she hopes to journey on for her brand, Clemency Jones proves why she’s one to watch, and one to get behind.

NRTH LASS: Why did you decide to set up your own business?

Clemency: It actually started from the products – I was drawing on t-shirts for myself before I thought of it as a business. I only started selling them because there was an art fair coming up that my friends run in Leeds – A Print Fair Called Skint Fair. They’d put me down to have a stall, so I needed something to sell! I made a batch of 12 t-shirts, all hand-drawn with fabric markers, and they sold pretty well. This gave me the confidence to try and pursue it a bit more properly; I decided to create a whole brand around the t-shirts, started screen-printing, and it grew from there. In a more personal respect, this all started while I was off work due to stress and family issues. Having a creative outlet was vital for me; a project that was totally mine and that I could work on steadily was immensely beneficial to my mental health during a really difficult period.

NRTH LASS: What was your background before Formes?

Clemency: At university I studied History of Art with Museum Studies, but had also worked as a stylist and in the wardrobe department for TV and commercials, I really loved both but couldn’t see myself pursuing either long term. Post-Uni I had the common ‘what now?!’ crisis, and I worked in retail for a bit. I think this mix of experiences was quite educational; even though at the time I felt a bit lost and unable to stick to one thing, in hindsight I’ve been able to see how both large businesses are run and how independent creatives make a name for themselves.

NRTH LASS: Why have you chosen to focus on plain white t-shirts?

Clemency: White t-shirts can be worn by anyone – I think they’re the antithesis of elitist clothing. They are practical and easy to wear, for many different people in many different contexts. For me, there seemed to be no point in creating something that was aesthetically pleasing but that people wouldn’t wear again and again. It’s also about using a known favourite to create something different, infusing an artistic element into an everyday item. I was fed up with high-street fashion, but can’t deny its widespread appeal and popularity. I wanted to harness the adaptability of high-street fashion, the fact that items are easy to wear and designed for the everyday, but also create something with a bit more personality and individuality. But unlike most high-street items I intended to make something sustainable, ethical and long-lasting.

It also boils down to practicality for me as the maker; plain white t-shirts are a great canvas to work on, perfect for screen-printing, and it’s now easy enough to source good quality organic cotton t-shirts that are ethically produced.

The combination of an artistic sensibility and a commitment to functionality is at the heart of Formes; I consider my products to be creative workwear.

NRTH LASS: Where do you draw inspiration from when creating your designs?

Clemency: My love of modern art feeds into Formes a lot. Originally my designs were inspired solely by the works of Matisse – I think his ability to create astoundingly evocative images with such simplicity is incredible. Now my designs are inspired by modern artists of the 20th century more broadly, in both concept and formal result. For example, I looked at the sculptural forms of Barbara Hepworth and her use of negative space, which resulted in my Empty Spaces t-shirt, while the inspiration for my Brushstrokes tee was the creative process itself, and the irony of replicating the unique marks of a brush through the repetitive medium of screen-printing.

I am constantly referring back to art history books for inspiration, but tend to sit down with nothing in front of me and try to fill pages of a sketch book with rough drawings. Influences come through organically, and often it is only once I have picked out my favourite rough designs and refined them that I realise what has particularly inspired me.

NRTH LASS: Who is your favourite designer and how have they inspired you?

Clemency: I don’t think I have one favourite designer, my wardrobe has always been mostly made up of second-hand items – I think it’s the God of Jumble Sales that I look up to most! Second-hand clothing has definitely influenced my brand as I’m used to adapting pieces and fitting them into my everyday – which is essentially what Formes does with the plain white t-shirt.

NRTH LASS: How would you like Formes to progress in the future?

Clemency: I want it to grow organically; Formes is very much a slow-fashion brand and I really take it at my own pace. Sustainability and ethics are at the heart of Formes and any progression needs to be based around that. I’ve recently branched out from t-shirts to produce some multi-purpose pouches with our signature Eyes motif screen-printed on, and with these I’ve also experimented a bit with colour, using techniques like a split fountain and some neon inks. I mainly chose to do this because I found some gorgeous natural organic cotton pouches from a great supplier, and there were some interesting pots of neon ink leftover in the studio. Using stuff that would otherwise be thrown away and combining it with high-quality, sustainable goods really appeals to me.

I’m thinking of doing some long-sleeved t-shirts next, and maybe some other colours. I’m also hoping to have a couple of new stockists in the UK and abroad soon, which would be really exciting.

NRTH LASS: Why have you chosen to stay local to develop your business?

Clemency: Keeping everything local has been an incidental consequence of doing almost everything myself and needing to keep costs down. I became a member of Leeds Print Workshop when I wanted to get back into screen-printing, and the support I found there was brilliant. I now print all of my products at my mate Joe’s studio in Hope House. He runs No Brand, an independent screen-printing service from his studio, as well as a brilliant t-shirt shop in the Corn Exchange. He’s taught me so much.

Leeds has an amazing sense of community, and it has been integral to the starting of my business – I owe a lot to the city and all the creatives in it!

NRTH LASS: What’s the best advice you’ve received during the setting up and running of your business?

Clemency: It’s not so much advice, but I have frequent reminders from the people closest to me that this is my own project and I can take it at whatever pace I want. I’m working to my own deadlines and there is absolutely no reason to get stressed about things. As soon as I start to feel stressed I take a step back and remind myself why I started Formes and what it means to me. I’m the boss and if things take a little longer than planned, that’s ok.

NRTH LASS: What would your advice be for anyone looking to set up a similar venture?

Clemency: To just start creating and test out ideas on your friends and family, listen to their feedback and start small – at first I had ideas of doing a crazy amount of designs and products, but honing my ideas down to one collection of four designs really helped me to forge my brand’s identity. Similarly, right at the beginning I filled a page with words associated with the brand I wanted to create, before doing anything else. This made me feel really confident in knowing what Formes is and what it stands for.

Also, lead with your strengths and work on everything else in due course; I love designing and making, and that’s what fills me with joy and excitement. The business side of things has always been a bit daunting, and if I’d focused on that I would have stopped before I’d even started. I made sure I was proud of my products first, and now the rest of it doesn’t feel like such hard work. I’m currently taking an online business course so that I can do myself and my products justice.

Image credit: Jo Crawford and Bean Studios

Getting to Know: Jane Haigh

Few people have quite the career portfolio of Jane Haigh. Originally from Leeds, the Freelance Designer, Stylist and Consultant, has travelled the world, worked for the likes of Topshop, Debenhams, Phase Eight and Monsoon, and has recently moved back up north, setting up her own Personal Stylist business which aims to help women define their style and grow their confidence.

Continue reading “Getting to Know: Jane Haigh”