The post Tim Walker exhibition appeared first on Wonderland.

The post Pirelli Calendar 2018 appeared first on Wonderland.

Launching today, the new Mulberry AW14 campaign is indeed, a breath of fresh air. The British heritage brand have gone back to their roots and created a crisp collection that’s invigorated with classic cuts and modern elegance. Shot in the Scottish Highlands by legendary fashion photographer Tim Walker and starring model-of-the-moment Cara Delevingne, Mulberry’s AW14 line is all about the great outdoors.

“The thing I most like about our new Mulberry campaign… is the sheer Mulberry of it! Big space, fresh air, wind in the hair, away from it all,” says Mulberry’s Brand Director Anne-Marie Verdin. “Mulberry is a brand that is at home in town and country and we wanted to capture that feeling. When we arrived in Scotland it was pouring with rain, but once Tim arrived this golden sun appeared – he really has the magic touch!’

Celebrating the quintessential British look, Mulberry’s AW14 collection rejuvenates traditional textiles of houndstooth and argyle into slick, tailored pieces. Meanwhile the long-loved lace-up brogue and all-purpose rain boot receive a modern update, whilst cosy arran knits and tartans feature prominently in a base palette of blacks, charcoals and sandy tones, complemented with forest green, cobalt blue and fire engine red highlights.

Mulberry also introduces customers to a new bag style: the Tessie, a cross-body satchel that certainly embodies the simple, unfussy aesthetic for which the heritage brand is renowned. Also premiering this AW14, is The Cara Delevingne collection, a range of bags specifically designed by the model that includes cool quilted and camouflage leather backpacks.

This AW14, Mulberry adds refinement to the countryside and gamekeeper chic to the city, demonstrating the British label’s knack for creating pieces that bring both beauty and practicality to everyday life.

Credits:

Photographer: Tim Walker

Model: Cara Delevingne

Campaign Creative Direction: Ronnie Cooke Newhouse and Stephen Wolstenholme at House and Holme

Stylist: Edward Enninful

Hair: Malcolm Edwards

Make-up: Val Garland

Video Music: Desired Effect by Atom Tree (featuring Fergus Cook), courtesy of Hotgem Tunes

Words: Steph King

The post Mulberry AW14 with Cara Delevingne appeared first on Wonderland.

Round One: Kate Moss for the Versace

From champagne binges to plate-smashing fights with Pete Doherty, the Croydon girl knows a thing or two about bad behaviour – which lends perfectly to her role as the face of Versace’s punk-inspired bag collection, Vunk. Of course, Kate Moss has the weapon of seniority. Unlike today’s precocious models, she’s not replicating the nineties, she is the nineties. While her height might not stack up against her Linda Evangelista counterparts, she basically inspired heroin chic and its latter-day grunge revivals. And while Moss has had her share of risque shoots, the come-hither eyes and strategic bag/fur coverage – plus the brown hair – scores pretty high in the sex stakes.

Poser rating: Swigging Veuve Clicquot in a Primrose Hill pub.

Round Two: Cara Delevingne for Mulberry

In comparison to Kate’s alleged coke habit and catfights with Gwyneth Paltrow, Cara Delevingne’s penchant for silly faces and drum solos  seem adorably tame — a perfect fit for the new demure, Bambi-eyed campaign for Mulberry. Shot by Tim Walker, the campaign portrays Cara as a naive Gothic heroine with long black gloves, a pure white suit and cherubic beauty. And while Cara may be posh (her grand-dad is former English Heritage chairman), she’s got a wild streak: the socialite-turned-model dances all night with Rita Ora and names Rihanna as a fashion inspiration. Think of her as the loveable head girl gone bad.

Poser rating:  Boozing on Lagavulin in the headmaster’s study. 

Words: Elise Marraro (follow Elise on Twitter @PardonMe_Lissie)

The post Fash-Off: Cara Delevingne for Mulberry vs Kate Moss for Versace appeared first on Wonderland.

Growing up in Dorset, James realised early on that he “always did best at anything practical. As long as I was creating something, I was happy.” He toyed with a number of creative ventures – “painting, product design [and so forth]” – before settling on photography.

It proved a wise decision: whilst at university, James’s interest in building objects that can be used as props in his images led him to work assisting legendary set designer Shona Heath. Heath’s productions have graced the pages of Vogue and formed the centre piece of ad campaigns for Hermes, Dior and Mulberry, amongst others. On his time with Heath, James says: “she is amazing. I learnt a lot from her. There would be focused guidelines of what [she] needed, but [there was] always trust that I could create it.”

Today, James’s photography incorporates large-scale sets and installations that have become a signature of his work, alongside dark, mythical pastoral influences that possibly belie his Dorset roots. A recent project saw him build a horse’s head out of driftwood, to fit over a model’s head. But, he says, he’s not ready to be pigeonholed just yet. ” It could be based around the model I’m shooting, or an installation I’ve designed. My aesthetic is still very open ended.”

James prefers to work with a 6×7 camera for film “especially for more experimental lighting. It just looks better… the way light reacts with film, but also the shape of the frame allows me to layer things up with multiple exposures.” But he isn’t adverse to digital. “Sometimes I use both and have the two cameras on the go. I love the idea of mixed media. Even commercial fashion pictures can be layered up with inks and paints.”

James juggles his own projects with his work with Tim Walker. “Working with Tim is an honour… he has such a fresh outlook and is constantly inspired.” The job sees James travelling the world, assisting for shoots with Vogue and W, among other titles, and numerous ad campaigns. James says through Walker he has learnt the importance of building a strong team on set, and says he appreciates Walker’s “fantastical” approach. “I’m interested by things that don’t exist, and the temptation in thinking that they might.”

A recent solo project was an advertising campaign for Reiss, which had a Christmas brief. Perhaps surprisingly for such a sleek brand, James “somehow managed to convince them to go with a human snowman theme.” Low on budget, he “took everyone to a remote village in Dorset. We had a great team but no assistants. We took over a miniature cottage that had its own wood, and I recruited my family in to help.” It still tickles James that the final images of the models, glacial and cloaked in snow, had a slightly less glamourous genesis than expected. “I will never forget the image of my sister shooting a snow cannon from the hip like Rambo, up in a tree…”

In the long-term, James plans to do more editorial, “work through all my old ideas, and develop a whole stash of new ones.” The world of advertising still interests him, too. “I’d enjoy the chance to revive some of these brands that just churn out dull adverts for their lovely products.”

As for the immediate future? James says that he’s currently “building a phoenix, a kind of firebird, that I’m halfway through. Oh, and just some simple portraits. It’s not all about the making after all.”

Words: Olivia Gagan

The post The dark adventures of JAMES STOPFORTH appeared first on Wonderland.