# data[].attributes.headline
Clay is a type of fine-grained natural soil material that contains hydrous aluminium phyllosilicates (clay minerals) that develops plasticity when wet.

# data[].attributes.subject
Clay is a type of fine-grained natural soil material that contains hydrous aluminium phyllosilicates (clay minerals) that develops plasticity when wet.

# data[].attributes.attachment_link.readable_text
Jamie-Maree Shipton, Stylist and Creative Consultant
I am self-employed - that means I don't work in one way. I think that this is a big advantage, given the current circumstances. I'm used to adapting on the regular: each client, magazine, brief, requires something different. And now, I have another different scenario to approach. It's not always people coming to me, I'm also approaching people and chasing things I want.

Commercial work is the main source of income, for most creatives that's the hard truth. It's not always the creatively satisfying jobs that bring in the paychecks; there is often a taboo even talking about them. I get a lot of creative consulting work, which is convenient as my name rarely has to be visible on these, so I can retain my anonymity when I feel so inclined, and my own aesthetic and signature isn't compromised.

I'm grateful that COVID-19 has not had an impact on my ability to be financially secure. From a young age, my parents instilled in me the utmost importance for having savings in order to have financial (and mental) security. But, I'm also well into my career to be able to have this. If you're just starting out, it's a very hard thing to build, and I feel for those fellow creatives. This also isn't something I want to be spending my savings on, but I definitely will not be complaining!

The government's agenda doesn't seem too inclined to support freelancers. Overall, the support is minimal. The best network we seem to have is each other.

I'm always going going going (a side effect of this industry), so actually it's nice to see my creative juices getting the time they need to reset and reignite. Sometimes doing this job can become a little second nature, and this has broken that cycle . It's not being forced but, perhaps, pushed into a new direction. Maybe even a little 360 degrees back to what it was like when you first began, where you don't have all the access and tools you need, and you have to rely on yourself to bring a project to life - even if it's just at home!

We can all have our days when things get hard, and we can second guess, but if you're seriously considering changing industries then perhaps this is not where you're supposed to be. Life can be funny like that, sometimes things have to break for you to realise you don't want to fix them, but start something new.

The human condition is predisposed to greed, people cant help but want more for less, and industries can be built upon this mentality. The fashion industry's treatment of interns is a prime example of this. We expect the absolute most, and yet provide the bare minimum in return. No wage, no security, no expenses, just experience. Thus it's important that the government impose restrictions and support this workforce like any other.

What we are seeing now is clients using COVID-19 as an excuse not to pay invoices that were already overdue. I have seen one large business returning unpaid invoice emails with: "please be patient and understanding with us," the insensitivity in this response alone is infuriating. If you're a business and you're worried about your survival, think how the individual self-employed people feel, knowing that you hold their survival in their hands. If you're working, it should be giving you a livelihood, not costing you one . So I would love to see the infrastructure and law change to support this within the fashion industry, especially for the large freelance workforce that bolsters it.

# data[].attributes.attachment_link.description
Jamie-Maree Shipton , Stylist and Creative Consultant I am self-employed - that means I don't work in one way. I think that this is a big advantage, given the current circumstances. I'm used to adapting on the regular: each client, magazine, brief, requires something different. And now, I have another different scenario to approach.

# data[].attributes.attachment_link.readable_text
"I don't know what feels right yet," confesses Lutz Huelle, contemplating the untold hereafter of COVID-19. It is sobering to hear a designer, a role deemed so intrinsically with a forward-thinking ideology, admit that he has no clue. His vision has become a nomadic one, traversing an unimagined no man's land with empty rails, no longer harbouring the toiles for the next season. He glances around his Parisian studio, in earshot from Le Marais, the nucleus of Huelle's eponymous label he shares with partner David Ballu, for the past twenty years. And it wasn't quite the anniversary setting he had in mind, "the deserted streets of Paris looking very 28 Days Later " he jokes. "Seeing the waters clear up, the streets no longer polluted with cars and no planes flying overhead. It's very strange" shares Huelle, as Paris begins, very slowly, unwinding the lockdown from Monday onwards. Yet, the saving grace for the German designer is that he's not one to become saturated by sentimental landmarks and milestones. "It just makes me feel old," he laughs riotously.

# data[].attributes.attachment_link.title
Lutz Huelle: The punk nature of less - 1 Granary

# data[].attributes.attachment_link.description
"I don't know what feels right yet," confesses Lutz Huelle, contemplating the untold hereafter of COVID-19. It is sobering to hear a designer, a role deemed so intrinsically with a forward-thinking ideology, admit that he has no clue.

# data[].attributes.body
“Défilé” is where “Margiela Galliera: 1989–2009” begins. A long runway of white cotton leads visitors through the entrance of the exhibit, marked by a curtain of ripped plastic, into a room of veiled mannequins dressed in basic, white cotton shifts from the show. Upon closer inspection, the shifts appear to have been darted, torn, and reconstructed.

# data[].attributes.body
Workwear clothing reference.

# data[].attributes.attachment_link.title
Hour of the Wolf - A Hora do Lobo - Vargtimmen (1968, Ingmar Bergman) [EN, PT-BR] (HD)

# data[].attributes.attachment_link.readable_text
They are usually very positive, I think it's more the PR around the brands who have a negative opinion about it, because why should a designer be offended by it? We're basically trying to keep the garments alive. It's better to remake something and still get the value up, rather than it ending up in a sale bin.
Could you talk a little about the trans sex workers community from Cape Town that you work with on your collections?
Yeah, we've been collaborating with SistaazHood since 2015. We were planning to do a show in November in Cape Town. The girls live under the bridge around the Castle of Good Hope and their biggest dream was to do a show in the castle. Because of the pandemic, we decided that it would be more effective if we start collaborating and seeing if we could set up an atelier in the city instead. So we're planning to do a collection with them, so that they can be self-sufficient and build up their own collections because they have an amazing style. They're super creative and it wouldn't be good enough to just do a show. What we really want for the girls is to have an option to do design and styling, because now the only option that they have is either dealing drugs or doing sex work.

"What if we start massively shoplifting at H&M and Zara, and then create sustainable collections out of the pieces, and 50% goes back to communities that got mistreated during the process of the fast fashion industry?"

What in your view makes your clothes political and what statement do they make?
Well, I think it's about mixing. I mean, we're living in a culture where everyone is mixing stuff up. So I think that's also a political message when in Vogue there's a full Versace look or a full Dior look. My reaction towards those bigger brands is, if you don't want to be mixed, we're just going to cut you up, stitch it together, and then you have to be mixed.

I also have recently created 'Stolen by Duran', which is a concept where we ask a question :What if we start massively shoplifting at H&M and Zara, and then create sustainable collections out of the pieces, and 50% goes back to communities that got mistreated during the process of the fast fashion industry? It's a Robin Hood approach. A lot of people were like, "Maybe you shouldn't promote it too much?" But, yeah, why not... I presented it at the BFC's Discovery Room. Some people were a little bit skeptical, but that's good. I think it's also about making people think about the whole process of fast fashion and the idea of stealing back from the biggest kleptomaniacs in a way. And also it was fun because people would expect me to do Saint Laurent and Dior, and they were like, "Oh, that's beautiful!". But I left all the tags on the clothes, and 30 seconds later, they realised it was Zara.

For me, as a designer and as a brand, I would like to play and fuck around with the system and see in what way we can change it. I think it's super important because everybody's walking on their toes. In fashion, you're not allowed to say that, you're not allowed to say this, you have to be careful with that - it's always people trying to make you silent. You don't want to do that because then that brand doesn't want to work with you anymore. And I think that's something that we, as young designers, are kind of fed up with. It's also crucial to connect with other designers and instead of being competitors, create and stimulate each other - that's the most powerful and effective way to change the system.

# data[].attributes.attachment_link.title
Duran Lantink shoplifts H&M and Zara to create political clothes - 1 Granary

# data[].attributes.attachment_link.description
They are usually very positive, I think it's more the PR around the brands who have a negative opinion about it, because why should a designer be offended by it? We're basically trying to keep the garments alive. It's better to remake something and still get the value up, rather than it ending up in a sale bin.

# data[].attributes.body
Play with Bunji Cord for finishing detail and fastening.

# data[].attributes.body
Dust Sheets and rope???