Oh they are glorious, so pretty, shiny and dainty, they may bend my toes into unnatural shapes and give me posture issues that will ensure that as a forty year old woman I will require some sort of a back brace.  But what is the point of all that logic when I can dress my feet up and trip around town.

My particular weakness is Irregular Choice, they take decorating your feet to a whole other level (admittedly Manolo Blanik can probably do it  bit better but I just ain’t got that sort of money)

That’s why the latest escapade of Jimmy Choo has made me so happy, it has combined two of my favourite things social media and shoes. Finally the chance to use my geekery to get me free shoes. Oh yes baby free shoes, not half price, not 20% off from the ridiculous high price so that they still cost the same amount as your months rent. Free!

Jimmy Choo have started a Foursquare treasure hunt; catch a Choo, now if you don’t know what foursquare is I can’t possible help you, go read mashable come back once your educated. Basically some Jimmy Choo employee is wandering around London town checking into places, all you need to do is to check into the same place at the same time, and you get free shoes.  See all that time spent wandering round the internet, playing on twitter, checking in on Foursquare might actually result in a beautiful pair of shoes.

It’s renewed my love of Foursquare, I really want those shoes, I need them. Social media for social good, I mean how much more good can it get to give me a pair of shoes that will surely cripple my feet. I know I shouldn’t like it my  principles tell me that I shouldn’t want the designer shoes I should want some made out  vegan materials  but I can’t help it, it’s like a primal urge.

Now you will have to excuse me I need to go stare a my iphone until I see that catch a choo has moved within an easily reachable distance….

In the 1300’s quartz eyewear was used in Chinese courts to conceal the judges expressions, but it wasn’t until 1937 after the invention of Polaroid (1929) that the pair of sunglasses as we know it was born – enter the Ray Ban Aviator.

The pre-war holiday boom spurred a surge in production of cheap sunglasses and by the 1940’s they were everywhere. From the Jazz club shades of downtown 50’s New York, to the Pucci-pretty Beatniks of the swinging 60’s. The bug-eyed Nina Ricci’s of the Jackie O generation, and the 80’s military precision of Top Gun inspired aviators – the ubiquitous statement shades have certainly earned their place in the 20th century wardrobe hall of fame.

Music + Sunglasses = Cool.

Ray Ban’s cult Wayfarer design was introduced in the 1950’s and catapulted into the global limelight courtesy of a young Audrey Hepburn in Breakfast at Tiffany’s (1958). The Wayfarer soon became the go-to shade of the 50’s and 60’s glitterati, most notably music legends John Lennon, Roy Orbison and Bob Dylan. In the 80’s Madonna and Debbie Harry inspired the 80’s club kid generation; and more recently the 2008 ‘Colorize’ launch saw a rainbow of Wayfarers descend upon the global festival and nightclub scene. Whilst their popularity is undoubtedly style induced, there’s an underlying aspect of practicality. Summer festival-goers need UV protection. Cue sunglasses, which double as the perfect nighttime disguise hiding partied-out eyes aplenty – and providing substantial morning-after relief.

“The world looks more beautiful through tinted glasses…” Karl Lagerfeld was famously quoted. Rarely without his trademark dark shades, Largerfeld reverses their role – rather than changing our perspective of him, they change his perspective of us. The notion of ‘rose-tinted spectacles” perhaps goes some way to explain why sunglasses are so popular today, especially within the aesthetic-loving realms of the fashion industry. It could however be a symptom of excess; too many late nights, alcohol and coffee.

Which leaves me to ponder the darker side of shade culture: as eyes everywhere cower behind designer lenses are we on the verge of an identity crisis? Corey Hart’s anthemic ‘Sunglasses at Night’ (1983) depicts a totalitarian society in which we’re forced to wear sunglasses at all times. With Ms. Wintour and Co promoting this ethos to such a literal extent, is this prophecy about to become a tinted reality?

Picture by whitewhitewine

( Dresses both from Rokit, skirt from Annie Greenabelle)

According to global cool, I learned recently, 900 000 tones of clothing in Britain ends up in landfill each year, and half of the clothes bought by British women last year have never been worn. Ahem – let me repeat that – half of the clothes bought by British women last year have. never. been. worn. Whoa! This is crazy oui? Oui.  And also quite sobering.  In fact, if you go deep into the ethical issues of clothing supply chains (waste, chemicals, labour practices etc) you can get yourself in a right muddle. I am trying, not always successfully, to stop myself from being paralysed by this sort of information, but instead to try and let it help me make decisions.

Last month I ruthlessly weeded out my wardrobe. I’ve been threatening to do it for years, and it was unbelievably satisfying (strongly recommended.) Combine this with trying to buy ethically and also being skint, what do we have? A “call-in-reinforcements” winter wardrobe clothing melt down. Most mornings.

It’s extremely tempting to chuck my ethics out the window and indulge in some deep down and dirty Primark shopping.  And in the past I have often succumbed, only to be bitterly disappointed after the first wash where it has either shrunk or been pulled so badly out of shape it looks like it belongs to a sack of potato’s. Buying clothes from ethical companies can also cost the earth (‘scuse the pun), and has a tendency to make you look a bit like a hairy earth mother. And even though I have a touch of hippy round my edges, hairy earth mother is a look I am strictly reserving for my 60’s (along with clashing bright colours and elaborate hats)

If you have mastered the art of bagging a bargain on ebay- I salute you. By the time I have whipped my self up in a bidding frenzy, paid more than I ever intended (limits schlimits) – then paid for shipping- The only thing I end up with is an overdraft and an overpriced dress.

(Clockwise from top left: Top from people tree, t-shirt from and skirt from Ascension, Duffel coat from Annie Greenabelle)

Then there is always the charity shops. But, if like me you live in a bit of a scuzzy area, the best thing you’ll find is someone’s second hand, soiled Peacocks  nightie. But my top new years resolution is to master the art of ebay and charity shop chic. (suggestions warmly welcomed)

(Left: Cardigan from Howies, jeans from Bochica, dress from Ascension)

Anyway, back to that fateful week of bare wardrobe, no money and good intentions. Before I dashed out of the office to piss my money away at the arse end of the high street, I thought I would explore a couple of alternatives. And I am pleased to report that I was pleasantly surprised. Nice cheap ethical clothes are out there.My first port of call is vintage shops.  They really stir my cuppa, and they may well stir yours too. They save clothes from landfill by recycling them and are often cheaper than the high street. They look cool, lets face it even with a list of clichés as long as you arm vintage will always be cool. No walking down the street and seeing 5 girls each wearing your Topshop dress.

And a whole throng of new, independent and ethical fashion shops have sprung up in the latter half of the noughties, without even a hint of the aroma of tofu and body odour about them. So I decided put together a collection of my favourites for this year.

(Below: All from Howies)

But, with all of this, it’s always worth keeping in that no ‘ethical label’ is ever fully, 100% “ethical”. They simply don’t exist.  There’s organic, local, hand made, made from Hemp, made in the UK, Fairly traded, tree protecting, wildlife saving or garments using only organic dyes and no garment can tick all of those boxes . What you choose all depends on your values and the way that you choose to navigate around it all. And I am also of the opinion that the high street isn’t always monstrous. An expensive top from Reiss, for example, might last you for years and stop you from buying 10 cheaper T-shirts. Ultimately, you can avoid most ethical conundrums by simply buying fewer clothes. But this isn’t always realistic. We can however, be a bit more thoughtful about where things come from and what they’re made from. A whole new ethical wardrobe probably isn’t realistic but a few new pieces is a good start. And we all have to start somewhere. And with the January sales and the start of a new year, what better time is there than now?

(Below: T-shirt from Edun, jumper from Howies)

Yes, everyone’s going gaga for kiddie chic, and it’s not just the young brand whores of Japan flashing their Hello Kitty purses. Judging by Madonna’s Bugs Bunny style Louis Vuitton headpiece and SATC’s Kristen Davis’ 80s throwback socks, it seems this trend is transcending the generation gap.

Speaking of 80’s throwbacks, you’d have to have been blind (or too preoccupied playing with toys) not to notice the recent Lego revival. We’ve had Marc Jacobs’ models stomping down the runway looking like they’d gone to war with the local playgroup; pieces of Lego stuck in their unkempt hair. You may then remember Jean-Charles De Castelbajac’s collaboration with the plastic yellow men and music maestros Four-H on a mock fashion show of his 2008 collection; a viral animation which saw Lego people strutting their stuff down the catwalk. The collection itself was a primary-coloured pop at art and fashion, featuring Lego brick Mohican helmets and retro-print dresses, and it looks like he’s still in a playful mood. His Lego inspired Pop Hours watches (a collaboration with design giants ODM launched in October) are said to be a current bestseller according to our source at JDCD’s flagship Mayfair store. No prizes for guessing which toy everyone wanted to get their mitts on this Christmas.

It’s not just the designers who are having fun either. Celebs such as Alexa Chung and Katy Perry have been seen lending their names to the kiddie cool movement by touting cute Lulu Guinness cartoon bags in Japanese-style kitty and pop-art pouting lip designs. You may have also noticed Lady GaGa and the Olson twins rocking some rather odd headgear of late proving Louis Vuitton isn’t the only one listening in on the animal ears trend. Michel Maison is the real headmaster of this style school; and it’s his lacy Minnie Mouse-esque veils that are the celeb accessory du jour. In the true spirit of fancy dress, Opening Ceremony went for out-and-out immaturity, with their Where the Wild Things Are collection. Inspired by Spike Jonze’s film, the story of a boy who dresses up in a wolf suit and unearths a world of ‘mischief’, the full-length furry playsuits are unwearable to say the least, but this all adds to their appeal. Imagine the fun you could have in one of those! Child’s play is a serious business though, and it seems everyone is cashing in on a collective refusal to grow up.

Thirty-five year old city boys have their dASA Genibo robo-dogs, whilst their girlfriends trawl Ebay for vintage Blythe dolls. Toys are quite literally too cool for school. Hardly surprising considering the current state of play, why on Earth would we want to act our age, when being a grown-up recessionista is so damned depressing?

If the recent Twilight phenomenon is anything to go by – Mr Patterson aside – something has certainly captured the world’s imagination – regressing to an age when vampires, ghouls and fairytales were our daily bread? Of course! Anything to help us win the hide-and-seek game between or pretty minds and our diminishing bank balances.

A snood? Why we’re just playing dress up Mr bank manager Wolf, it’s so incredibly cold outside and we’re going to see Grandmother Topshop who lives through the concrete forest, by the River Island. Forgive our devil may care attitude, for it may have something to do with Pamela Love’s Opening Ceremony horned headpieces. Because even the nicest little children have their naughty moments.

Squidge Magazine: Can you tell us a bit about how HEL LOOKS got started?

Liisa Jokinen: We started in July 2005. We were on a summer holiday in Stockholm, Sweden, when we realized how colourful and diverse the streets of Helsinki are. As soon as we came home, we started taking pics. What especially inspired us were young glam rockers who were hanging outside Kiasma art museum in the centre of Helsinki. We thought they were worth documenting. And because we wanted to show the looks of Helsinki to the whole world, we published them online. We have continued doing HEL LOOKS because of the great feedback and simply because it’s a lot of fun! Meeting new people, taking pics, running the website.

SM: You mention that the site is a tribute to ‘the pioneers of street fashion photography’. Anyone in particular?

LJ: Shoichi Aoki in particular!

SM: The images have a real feel of documenting Helsinki sub-cultures. was this the plan from the outset of has it evolved over time?

LJ: Yes, the plan was and is to document the Helsinki street scene. We know there’s something worth documenting and showing to the rest of the world.

SM: So how do you go about getting the images? How do people react to being asked?

LJ: I usually always carry the camera with me. It’s nice to be surprised – to see something “hel lookable” when you really don’t expect it. Helsinki is a small city with only 500 000 inhabitants in it.

SM: So what about you two? Tell us about yourselves?

LJ: I’m freelancing, writing and photographing for lifestyle and fashion magazines. Sampo is working as a creative director at Sulake, the founder of teenager online game Habbo Hotel.

SM: Any other projects going on?

LJ: I’m planning an “non-profit social travel agency” with my friend Ulla-Maaria Engeström. A travel agency promoting local, high-quality, low-carbon services and travel destinations. Our aim is to re-define the meaning of luxury! Then I’m also planning to take the HEL LOOKS exhibition to Brussels next year (it has been on show in Copenhagen, Berlin, St Petersburg, Tallinn, Riga and Vilnius). Oh and one more thing: I’m one of the curators of Art Diamond art exhibition taking place next summer in Pori, Finland.

I found these pictures Cyana trend land, you can see that there has always been a fairly stock format for photography lips, make them full, make it close up, if you can get something protruding from the mouth, be it soft fruit or a wisp of cigarette smoke. And keep them on a blank canvas, the paler the skin the better, alabaster cheeks and chins from which a glorious full pout appears.

I have to say there is nothing quite like a woman wearing lipstick well, I have a friend who has one of the most glorious pouts know to man or beast.  She went through a wonderful stage of wearing rich red lipstick covered with red glitter. It was one of the most captivating sights. You couldn’t take your eyes of her lips.

It isn’t one of looks you can keep going all night, lips are all about first impressions, the entrance. Those looks when some ones gaze flicks from your lips to your eyes. A heavily lipsticked mouth is a statement makeup, halfhearted just doesn’t cut it.

Now you’ll have to excuse me while I go and blow a ridiculous amount of money on lipstick. Here are some of the most wonderful pouts fashion has to offer.

Emma studied at London College of Fashion before being given a Scholarship from Marchpole to make my graduate collection. Now the designer and textile artist set up the label ä elska from my studio space in the creative hub that is Cockpit Arts in Deptford. We asked her some questions and she said this…

Squidge Mag: Can you talk us through your work process, how do things go from a fuzzy concept to the finished article?

Demiswede: Well for me usually everything starts with a lot of photocopies! I’ll spend a lot of time in libraries and this creates loads of ideas that usually lead to a theme. For my graduate collection I was influenced by a lot of scientific diagrams and symbols that document movements or sounds. I thought about how even though most people can’t read musical notation they can enjoy the sound, so their brain understands the same symbols just in a different way! Its a thought process that feels simple and obvious but points to other ideas about interpretation. This leads to me scribbling a lot and playing with shapes on the mannequin which leads to garment shapes!

SM: What or who do you think has been the biggest influence on your designs to date?

D: I think Swedish culture is my biggest influence, I find the design aesthetic so beautiful, Its so pure and so functional yet has a massive visual impact, It is my aim to design like that.

SM: Which designer would you most like to work with?

D: At the moment my favourite designer is Erdem Moralioglu. It is difficult to combine femininity, modesty and modernity and he does it so so well. I also love Martin Margiela for his design ethos, it’s very admirable for a designer to shy away from the spotlight because a huge team of people will have worked on the designer’s collections. The work is so high end, yet exposes the processes behind making the garments.

SM: The fashion industry has been massively influenced by the recession, what effect do you think this has had on new designers?

D: I think it has hit everyone hard, I’ve definitely lost some opportunities due to the recession but I’ve gained the absolutely amazing one to have a studio space at cockpit arts and support from head for business that I never would have had otherwise! Seeing other businesses fail makes you realise that you can’t spend money you don’t have, and you have to be very clever about what you put on the market, but it pushes you to do well on your own. I don’t think it would be any fun if it was easy ; )

SM: How would someone reading this hope to get hold of one of your designs?

D: The garments you can see are made to order and you can email me at demiswede@googlemail.com. Later this year I will be selling accessories at Greenwich market and slowly but surely building up a bigger product range and stockists! Also look out for my label launching which is going to be called ä elska

SM: Your final collection features items which have incredible intricate patterns cut into the fabric, is the process as painstaking as it looks?

D: I drew the textile design by hand and used a laser cutting machine to cut the design.  So the laser does the really clever bit! Although it does take a long time to digitally match the textile design to the garment shape, not to mention make sure that you don’t set anything on fire!!

SM: I love that there is an origami element to your work, the pieces are incredible architectural, where did this feature in your work emerge from?

D: Architecture feels similar to fashion in a lot of ways, basically in both disciplines you are cutting out flat shapes and putting them together to make one big three dimensional shape. I also think that you inhabit your clothes as much as you do your home. Its funny that you say it looks like origami because at first when i was trying to work out how to fit people into the shapes I made little paper models of them!

SM: Your studios are in Deptford; South East London has often been suggested as a hub of creativity, do you think that the area has had an influence on you?

D: It’s impossible not to be influenced by your surroundings and Deptford is brilliant as the creativity is a really exciting undercurrent that bubbles underneath society and comes out in graffiti and little community projects. I think you will always find emerging artists and designers where the rent is cheap!

SM: What would you say has been the highlight of you career so far?

D: I’m really only just getting started so I feel like all the highlights are yet to come! I think my graduate show was a definite highlight even though I totally almost fainted afterwards! Can highlights exist in the form of people? I’ve been really lucky since graduating to work with some amazingly creative people at places like Amelia’s magazine and Louise Goldin.

SM: Have you got anything interesting in the pipeline for the future?

D: I have so many ideas and so many plans! I’m going to be doing large pieces of textile artwork to place in empty shop windows, converting negative recession-affected spaces into positive ones! I’m going to be setting up my market stall and I also have some really cool interior products in the pipeline!

SM: What other up and coming designers do you think we should watch out for?

D: Definitely look at Louise Goldin, she does absolutely astonishing things with knit and her shapes are so forward thinking. I also think Peter Pilotto is doing some really interesting things with digital print so I’d keep an eye on him!

Here at Squidge we love hearing about new, exciting things, particularly when those new, exciting things are designers or artists. So it was great when the lovely Samantha from Eliza Clare got in touch with us, to tell us about their label. Eliza Clare creates some of the most weird and wonderful accessories I have encountered, from sculptural jewelry to take-away themed bags, all these items are hand made and exquisitely finished. So we decided to ask them about the world of accessory design and get some insights what makes the brand tick…

Squidge Magazine: What was it that first made you guys strike out, and start making your own line of accessories?

Eliza Clare: We really wanted to create something that was completely different to what was available! We wanted to make accessories that we loved and be able to fulfill our creative urges

SM: Your newest collection is described as ‘tapestry bead sculpture’ what exactly does that mean?

EC: A lot of our work is sculptural in the way it is formed or in the way we put it together. Our new Adornus jewelry line is created from cubes of tapestry and our overall aim was to create “sculptured” pieces of statement jewelry.

SM: Who do you think would want to buy your collection?

EC: Our own research shows us that our products are bought by every “kind” of customer. Female; Male; Old; Young; Conservative; Eccentric; Romantic; Bold. The list is incredibly varied – I think this is because we actually appeal to a wide range of tastes and that most customers can find something within our collections that is “them”. So I guess the answer is everyone

SM: Was it hard to get started, any tips to aspiring designers?

EC: It wasn’t so difficult to get started – a lot of the startup stuff can be achieved on a wing and a prayer! I think that it is hard to keep going and not to get disheartened sometimes – it takes a really long time to build up a presence in the market and  to create a “name” for yourself. It takes a while to be able to earn money from the business too! My advice to aspiring designers is – Just Do It! You don’t have to start big; nor do you have to start with a bang – just get started . Think outside the box and work hard. Trust your designs; trust yourself.

SM: The bags all seem to have their own theme, where do you get your ideas?

EC: Our ideas really come straight from our imaginations! We are inspired daily by the world around us – and we are never short of new design ideas!

SM: How long does it take to make a bag from concept to completion?

EC: Some of the bags may take 80-100 hours from concept to completion – others 40 or 50 hours. They all differ greatly. A lot of how long a bag takes to create is based on how difficult it is to construct and how much “work” there is involved, such as embroidery and beading.

SM: Which person (real or fictional) would you most like or have carrying/wearing Eliza Clare accessories?

EC: An Aussie actor – Cate Blanchett: Nicole Kidman; Naomi Watts – someone with STYLE (or at least a good stylist ) who could put our accessories on the Red Carpet and in the world fashion spotlight! Other than that – everyone!

SM: What designers do you look to, any particular favourites?

EC: We really love OTT designers! Marni, Jamin Puech – there are so many. Our inspiration comes from within, but we love to see what others are creating.

SM: What words would you use to sum up what the eliza clare brand is?

EC: Bijoux. Beautiful. Heirloom. One of a Kind. Timeless. Art. Divine. Personal.

SM: Do you have a favourite piece in the collection?

EC: Do I have to choose!? Ummm, Bramble, Bouquet, Bolster?!? Too hard!

Thanks again to Samantha at Eliza Clare for answering our questions! You can find the full collection of accessories on the Eliza Clare website, so get over there and spend some pennies!

I read an article in the Guardian a while back, about makeup and the feminist question, feminist Julie Bindel was putting on make up for the first time and musing over why women chose to hide themselves under a layer of cosmetics. This created a torrent of abuse from women who stated there was no hiding involved, that women’s desire to wear make up was not a sign of weakness. It was not necessarily for men’s benefit or other women’s benefit for that matter. It did make me wonder why we spend so much time on this issue, women’s appearance seems to be so intrinsically wrapped into issues of feminism one wonders whether people have realised how incredibly ironic that is. Surely old school feminists were trying to get away from women being judged on their appearance, so why is the issue of wearing make up or not wearing makeup such an issue.

I then tried to forget about this, I feel getting bogged down in feminism, and it’s sometimes questionable ideals, is really not worth my time. Then I came across these photo’s by Kurt Stallaert, and it got me thinking. These images display make up as an instrument of torture, which to anyone who has witnessed an eyelash curler coming towards them at full speed, is not hard to imagine. But there is still part of me that feels like aren’t we missing the point here?

There always seems to be these examples trotted out of women who get up three hours before they have to leave to put on their face, usually before their partner, who has never seen them without slap. All I can think when given these examples, is realistically this cannot be the norm. Women across the world would be permanently sleep deprived.  And call me crazy but do you not think that there are men who spend three hours getting ready by carefully trimming facial hair, preening coiffeurs and plucking chest hair. Why do we not have articles written on these poor souls? Why do we not abhor society for creating a world, where men have to remove their natural hairyness in order to be accepted by society?

But more to the point this is all aesthetics, and I thought that what was what we were trying to get away from? Surely some people will agree that some makeup does very little to enhance a women’s looks, far from covering up flaws it acts to enhance or create new ones. It all seems to adhere the very standard ideas about how women apparently, wear makeup. There is no consideration for the electro kids; their blocks of colour akin to face painting, the goths with their blackened eyes and sallow skin, to say nothing of emo’s where makeup is no longer a gender issue. Aren’t all these arguments somewhat outdated.

I remember having a discussion with a friend at university who said that hair is a feminist issue, she was referring to women shaving their legs. I remember thinking what the hell have feminists got to do with my legs, their mine, they can fuck off and deal with their own legs!

I can’t help but feel that by making such a big deal about make up and whether it prevents us from being the women we could be, if only we step out from behind the mask. Is frankly outdated bullshit. ‘Mask’ another term I have a problem with, according to Goffman, everyone has a backstage and frontstage persona, it is part of living in society. You have behaviours which are public and those which are private, this is not good or bad it is simply a result of living in a community as opposed to in a solitary confinement. For me, make up can help me get into a role but that doesn’t mean I am betraying the sisterhood, because my role is not exclusively ‘I am out to get men’s attention’. I just feel that where feminism is concerned they should stop focusing on surface issues, and I thought that was the whole point? To judge the person and not their looks.

Squidge Magazine: Can you tell us a little about yourself? Where you live/work, how long you’ve been a professional photographer for…

Alexandra Carr: I live in Hoboken, NJ and work mostly in NYC, Brooklyn and this area.  I’ve been a professional photographer for about 4 years.

SM: Can you also tell us a little about who you’ve worked for?

AC: Some clients I’ve worked with include:A4, Nylon, Nylon Japan, Celeste, Squint, Dooney & Bourke, Zac Posen and some record companies

SM: When did you first decide you wanted to be a fashion photographer? What first sparked your interest?

AC: I’ve always loved magazines, especially fashion magazines and was riveted by them from an early age. I came to photography as a career later because at first I was not sure that I wanted to do something I loved so much for commercial purposes.

SM: Shooting fashion, especially on location, is full of potential problems/issues/hazards. Got any horror stories?

AC: Not really any horror stories, apart from few run ins with perverts and crack heads. A shoot was disrupted once because someone called the police and said we were holding down a girl.  A couple of police cars showed up and it took a bit of time to convince them that nothing extraordinary was going on. It was pretty weird considering that the crew was mainly female with a couple of effeminate looking guys. They didn’t even ask if we had a permit (which we did not have).

SM: The classic question; digital or film? What do you typically carry with you on a shoot, camera equipment etc?

AC: I used to shoot medium format but lately I have been shooting 35mm. I have a Nikon Fm2 and a Nikon 300 D. The other stuff I bring really depends on the location but I usually have a couple of stands, a scrim jim and lights.

SM: And who are your favourite photographers?

AC: Many… Nan Goldin, Juergen Teller,  Inez and Vinoodh, Venetia Scott, Steven Meisel, Ed van der Elsken, Guy Bourdin, Helmut Newton…

SM: There is a constant debate around how important education is in relation to photography, and wether college/university is a waste of time compared to hands on experience. What’s your opinion?

AC: I am self taught but I don’t have anything against formal education. I think that the primary learning experience comes from practice. Everyone has their way of finding their own voice and methods.

SM: And for all the budding fashion photographers out there, any words of advice?

AC: Trust your instincts.

Many thanks to Alexandra for the interview. You can check out her portfolio here.