Faye Nottage

Faye Nottage is a fashion, lifestyle and popular culture journalist living in London. She is available for freelance work.

“The stars of my generation were truly talented and individual - they weren’t clones created by brand managers and PRs but were honest and covered in stardust. There are no icons today. Icons are not disposable. We have created a disposable society and we’ve created disposable icons to boot” - Terry O’Neill

No image better captured the stardust, allure and loneliness of Hollywood than Terry O’Neill’s 1977 photograph of his then girlfriend Faye Dunaway reflecting by the pool of the Beverly Hills Hotel, the Academy Award she won the previous night resting on the breakfast table. It defined an era, an actress and an artist.

 

For the past five decades, Terry O’Neill’s photography has captured the frontline of fame. From the Hollywood greats and rockstars to presidents and prime ministers, his images have adorned historic music albums, international magazine covers and movie posters, making him one of the most collected and celebrated photographers worldwide.

 

Back in 1960, O’Neill had never considered a career as a photographer. Wanting to be a musician instead, he began working for British Airways as a technical photographer with the intention of transitioning to air stewardship so he could easily hop over the pond to New York and become a jazz drummer. But it was an art school ‘capturing emotion’ assignment, an entailment of the BA job, which opened his eyes to the world of photography, and in turn uncovered his talent. And it was his picture of the then Home Secretary, Rab Butler - asleep amongst a group of African Chieftons at Heathrow airport - which impressed the editor of the (now obsolete) Dispatch, which catapulted O’Neill into the beginnings of a successful photography career.

 

He soon went on to photograph The Beatles and The Rolling Stones when they were yet to hit the big time in 1963 for publication the Daily Sketch, established backstage reportage photography with David Bowie, The Who, Eric Clapton, Elton John and Chuck Berry.

 

And last month a very special exhibit took place at London’s Rook and Raven gallery to honour and celebrate this creative. ‘Terry O’Neill – Reworked’ was a treasure cave of nostalgia, memories and legends brought together with the new.

 

The exhibition of original work in which the creations of one of the 20th Century’s great image-makers, have been reinterpreted by artists of today, was certainly a must for lovers of art, music, film and popular culture. From Elton John to Audrey Hepburn, Terrence Stamp and Raquel Welch, there was something for everyone. And with an array of British and American modern artists having re-envisaged O’Neill’s iconic works of art in their distinctive mediums, the exhibit was fresh and contemporary.

 

Speaking of the display, Terry explains how his photographs, many of which are decades old, had become too familiar to him and having the opportunity to see them updated was a great pleasure, “what I loved about Rook and Raven was having young artists with a fresh eye interpret iconic images for a new generation.”

 

And who are these artists who have given the current generation of art lovers the chance to appreciate such iconic images in a new way? Pam Glew is the talent behind the new bleached Union Jack covered Shrimpton and Stamp portrait, redefining the image which originally defined Jean Shrimpton and the first supermodel in the Sixties. O’Neill himself explains how he “would love to hang that interpretation up at home, but Bill Wyman bought that piece instead.” James Dawe has reworked the classic 1971 Brigitte Bardot image, transforming the windswept, cigar-smoking beauty into ‘Bardot – Hair Waves’. Whilst artists Curtis Kulig, James ‘Dalek’ Marshall and James Mylne have transformed icons Raquel Welch, Elton John, Audrey Hepburn and Sean Connery for today’s audience. Sitting alongside the modified pieces were O’Neill’s original stunning works, contextualising the collaboration and creating the perfect juxtaposition.

 

“Sixties London was so exciting. Every day I was doing something new - Mary Quant one day, Jean Shrimpton the next. And for once, we had the say. It was the poor people from the East End taking over from the toffs. People took us seriously.” For O’Neill “girls, music and clothes” defined the Sixties, and along with photographers like Brian Duffy, Terence Donovan and David Bailey, Terry O’Neill created the era. But it was not just who he was capturing that made him such a standout photographer, but the way he captured his images. Using a 35mm was a “completely new approach in a time when portraits were regularly taken in studios using lighting and hoods.” O’Neill’s 35mm film, which he could carry around with him, created a new frank and candid style of photography, which is now his trademark.

 

Hobnobbing and rubbing shoulders with the biggest names of the day, and today’s lasting icons, Terry recalls how Frank Sinatra was the most charismatic Hollywood star - “Frank opened the door to me and I never looked back.”

 

Continuing to work with him for nearly 15 years, O’Neill captured Sinatra’s films, concerts and rehearsals - “he wasn’t that casual character that would come on stage; he really worked at it” - with Frank never once questioning anything the photographer did, “I could walk in whenever I liked and take photographs of whatever I liked.”

 

He recalls Audrey Hepburn as the most photogenic – “you could not take a bad shot of her”- and Brigitte Bardot as “a really great looking woman.” And are there any of today’s celebrities that Terry O’Neill would like to capture? Apart from the late Amy Whinehouse, the answer is no, “the female stars of the 1960s had much more individuality and personality than they do today. Now, they all look the same.”

 

O’Neill remembers the greatest picture he never took to be of Marilyn Monroe - “the reason being that I fancied her PR more than her. I don’t regret it though because it’s harder to find a good woman than a beautiful one.” And what for him makes the perfect picture? “The secret, for me, is for the subject to be totally relaxed and you to see that in the picture.”

 

Understanding that having your photograph taken can be daunting, O’Neill tries to put his subjects at ease - “before a shoot, I read up on the person I intend to photograph so that I get to know them and their idiosyncrasies. It helps to know a bit about the person in front of the camera so you can engage in a conversation with them – for me this is the best way to relax someone and get a great shot.”

 

But it isn’t just his subjects that need relaxing; sometimes O’Neill himself suffers from a bout of nerves, especially when photographing royalty. He remembers one of the most surreal moments of his career to be when he was invited to photograph HRH Queen Elizabeth II, “I was extremely nervous for three months before, thinking of everything that could go wrong.” But he needn’t have been, “she was a natural of course, having spent her life sitting for portraits.” And hearing she was a fan of horse racing, O’Neill proceeded to tell her an array of equestrian jokes to make put her at ease – “having a giggle with the Queen of England was one of the highlights of my career and I will never forget it.”

 

Capturing some of the greatest Hollywood actors, O’Neill describes the relationship between film and popular culture as “indistinguishable. The synergy between the two has come full circle. Films drove popular culture as a form of entertainment before television and the digital age and now popular culture drives films. You see its influence in movies that are being made to exploit trends in popular culture from computer games that are becoming box office hits to fashion.”

 

Continuing to work with stars like Eric Clapton and Michael Caine, O’Neill maintains the Sixties to be the best time for beauty, popular culture and art, “I was born and worked in the most opportune of times. The Sixties were such a golden age for photographers. I doubt it will ever happen again.”

 

And now O’Neill has teamed up with Jimmie Martin, the award-winning furniture brand, to create one-off sofas, chairs, armoires and beds – the collection fittingly named ‘Sleeping with the Stars’. The gold-leafed baroque furniture is adorned with Terry’s photographs and then finished off with hand-painted artwork - Madonna chose them to design the throne on which she performed during America’s Super Bowl earlier this year.

 

Bringing the worlds of art, film and music together with his up-close and personal, honest, immediate and intimate photography, O’Neill is one of the most collected and celebrated photographers worldwide; creating masterpieces that defined a generation.

 

But what of this generation and its obsession with ‘celebrity’? “How can today’s celebrities expect to be iconic, they’re not inventing anything. In the Sixties the stars were changing the world, who’s changing the world today? Lady Ga Ga?”

Fil Eisler. Interview.

Fil in his early days as a touring bassist. Image courtesy of ©James Cumpsty 2003

Type “Fil Eisler” into any search engine and a host of information regarding his time spent working as Robbie Williams’s bass player appears. However, the Czech born, English raised composer has, quite literally many strings to his bow. As well as a deft understanding of music theory, harmony, orchestration and conducting, he has successfully made the transition from backing group member to a fully-fledged master of his craft.

Eisler describes his musical style as “a bit of a mutt but certainly melodic” and taps into the influences of everyday life when formulating a composition. “TV shows, old postcards, fashions, even conversations with complete strangers; anything can trigger a sound in my mind. I am able to create a tune from that glimmer of inspiration.” However, this ability did not come over night and the change from playing the bass to composing was not a clear transition; more of a gradual learning process. Eisler completely committed himself to the study music as well as spending countless hours with private teachers at UCLA, California.

From there, he was selected in 2008 as one of six up-and-coming composers invited to the Sundance Film Composer’s Lab, Utah. Since then, Fil has gone onto score to films such as: the commended Humboldt County, J Van Tulleken’s BAFTA nominated thriller Off Season and the Sundance backed documentary Whatever It Takes. His list of credits goes on and as well as working in conjunction with composers Tim Jones and the Oscar nominated Marco Beltrami, Fil has written music for various films and TV shows, including: My Best Friends Girl, ER, Studio 60 on the Sunset Strip, Thief and This Revolution.

“Every time I stand in front of an orchestra I think, ‘How the hell did I get here?’”

The multi-instrumentalist was first prompted to leave the stadium tours behind to begin a new chapter of his decade long musical career by a deep-rooted love of film. Eisler lists Apocalypse Now, Hard Day’s Night and Dr. Strangelove as his film scores of choice but praises Bernard Herrmann’s ominous Psycho soundtrack above all others. “The fact that he limited himself to just a small string orchestra made it even more special. It was a genius way of entwining emotion, popular culture and film with music.” He continues, “there are films that follow the Zeitgeist and there are films that are the Zeitgeist. That is all.”

Hermann’s work also closely adheres to Eisler’s philosophy to always remain sensitive to what is happening on screen. Therefore, the stronger the performances of those on camera, the easier his job becomes. The upcoming film Natural Selection, directed by Robbie Pickering and starring Rachael Harris is a perfect example. Harris plays a sheltered Christian housewife who sets out to fulfil her husband’s last wish by finding the son he fathered through sperm donation. “Seeing others push their abilities to the limit make me realise there are in fact no limits whatsoever, only those you impose on yourself.”

Vowing to face the endless challenges of the industry head on and with an extra helping of humility, Eisler is set to make waves in the world of music, TV and film. With Natural Selection and thriller On The Ice soon to be released, as well as creating the melodies for ABC’s hit show Revenge and Phillip Noyce’s up and coming Americana also for ABC, Esiler certainly has his hands full. But does he have the ego which often accompanies such a talent? The answer is simply, no. “Every time I stand in front of an orchestra I think, ‘How the hell did I get here?’”

Original published source: http://www.velourmagazine.com/film/fil-eisler/

Terry O’Neill ‘Reworked’ Exhibition

 

For the past five decades, the photography of Terry O’Neill has captured the frontline of fame. From the Hollywood greats and rock stars to presidents and prime ministers, his images have adorned historic music albums, international magazine covers and movie posters, making him one of the most collected and well regarded photographers worldwide.

To celebrate the photographer, the “Terry O’Neill – Reworked” exhibit is currently taking place at London’s Rook and Raven Gallery. It is a clever and visually arresting look the work of one of the 20th Century’s great image-makers reinterpreted by artists of today: each using their distinctive mediums and is a must see for lovers of art, music, film, photography and popular culture.

Sitting alongside the modified pieces are O’Neill’s original up-close and personal, honest, immediate and intimate photographs, contextualising the collaboration and creating the perfect juxtaposition. “What I love about Rook and Raven is having young artists with a fresh eye interpreting iconic images for a new generation,” says O’Neil. He goes on to explain how his photographs, many of which are decades old, have become too familiar to him and having the opportunity to see them updated is a great pleasure.

The artists at the forefront of this re-imagining include Pam Glew: the talent behind the new bleached Union Jack covered Shrimpton and Stamp portrait. This originally defined Jean Shrimpton and the first supermodel in the Sixties and this latest incarnation further cements her iconic status. Meanwhile, James Dawe has reworked the classic 1971 Brigitte Bardot image, transforming the windswept, cigar-smoking beauty into “Bardot – Hair Waves”. Elsewhere in the exhibit, artists Curtis Kulig, James “Dalek” Marshall and James Mylne have transformed icons Raquel Welch, Elton John, Audrey Hepburn and Sean Connery for today’s audience.

Original published source - Velour Magazine: http://www.velourmagazine.com/lifestyle/terry-oneill-reworked-exhibit-at-rook-and-raven-gallery/

Gareth Pugh’s Dark Knights at Paris Fashion Week ’12

Gareth Pugh has always confessed to feeling much more at home showing in Paris than in his native London, and his Autumn/Winter 2012-13 show was no exception.

Taking place in a car park setting in Rue de Turenne, the show began typically with just the right amount of excitement. In a display which some argued rivalled Burberry’s ‘rainy day in London’ moment, grey leaves fell from above, lowered to the floor and the catwalk was transformed by texture. Then came the models…

Shaggy would be the word to best describe this collection. From coats to dresses, the catwalk was awash with furry pieces. Some all black, with one ornamented by a Luna-like headpiece.  The rest were accompanied by black and translucent headbands, whilst the abundant fringing created just the right amount of juxtaposition. Ragged leather hung like drapes on black jackets, whilst tent-like coats were toughened up with leather piping and shoulders which were swathed in fur. Built in restraints featured on the pockets and oversized bat-wing collars made the looks all the more striking.

The overall look was somewhat Amazonian Warrior, Aztec and, with thanks to the all over furred gloves, even yeti inspired.  The harness-like headpieces and leather muzzles gave it an added bondage element whilst the silhouette was almost indefinable.  From large and cumbersome to contoured and defined, the looks were bold, audacious even. Primitive, earthy, dark and moody, but with a decidedly softened and more wearable edge, there was a distinctive departure from his nonsensically shaped, wearable sculptures of seasons past. Pugh continues to create the architectural aesthetic he knows best, and one which showcases the dark side of beauty with marvellous ease.

                          

Original published source: Velour Magazine http://www.velourmagazine.com/fashion/gareth-pughs-dark-knights/

Ekaterina Kukhareva

Knitwear designer Ekaterina Kukhareva is definitely one to watch. Putting emphasis on her Ukrainian/ Russian roots, her latest collection is inspired by the Russian Tsaritsa as well as Moscow’s Kremlin and St.Basils church on the Red Square. With a colour palette of Russian red, rose pink, chocolate brown, black, silver and gold, she has created a collection that is glamorous, luxurious and sleek.

We spoke to Ekaterina to discover more about her inspirations, her style and how she is breaking boundaries and giving knitwear a new lease of life.

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-Your AW 2011/12 Collection is very sophisticated and wonderfully glamorous, but how would you describe it?

My AW11 collection was created with a modern woman in mind who needs very little accessories as the clothes themselves are heavily much embellished, very elegant and chic.

-You are very clearly inspired by your Ukrainian/ Russian roots, but what else inspires you?

I feel inspired by the vast majority of everything in the world around me, such as: people, nature, but mostly I have been inspired by historical artifacts and specifically for this collection my main inspiration came from my recent find- a book on the House of Romanov, my visit to Moscow Kremlin and Church of Saint Basil. I have always wanted to create a collection based on my knowledge of Russian culture. We have seen a lot of designers for instance: Karl Lagerfield, Dolce&Gabbanna, Roberto Cavalli being inspired by Russia and interpreting their own way of seeing the culture, religion etc. With this AW2011 collection I have portrayed my inspirations with the help of intricate fabric woven details as well as having simple cuts and silhouettes.  

-This collection is based on the Russian Tsaritsa, what other women inspire you in both designing and in general?

I am inspired a lot by a modern woman because she is an individual who tends to have a lot going on in her life these days: family, work and therefore a woman who has to balance a range of tasks. There are a lot of women out there who are able to manage all these tasks and I really look up these women.

-You have said you are interested in Queens of preceding periods, why the intrigue? And who is your favourite Queen of all time?

Yes I am interested in designing collections inspired by queens of previous eras. The reason for this is because there are certain artefacts, knowledge and books that we can read on their life, but also a lot that is left to our imagination. For instance Cleopatra- an inspiration for my previous collection. There have been a lot of books, facts, films made about her and every century there would be a movie made showing her differently in each one of them. As a result of this I decided to create my own version of how I see her.

-Do you have a muse?

I do not have a certain muse in mind, but every time I design a collection I imagine a woman and how I would dress her, what is she like, who is she, where she comes from.

-Who is the definitive ‘Ekaterina Kukhareva’ girl? What is she like?

She is sexy, elegant, aware of her body. She has her own personal style and is effortless chic.

-Are all of your designs pieces that you would wear? Who are you designing for?

Yes I always try and think about what would women wear and I tend to try it on myself first. If there is a piece that I would not dare to wear myself, I would rather not make it. At the end of the day I would like women to wear my collections and make them as comfortable as possible.

-You graduated from Central Saint Martin’s College of Art and Design with a degree in Textiles specialising in Knitwear. Why knitwear?

I did not know what to choose at the begging and I had a choice of weaving and knitwear to pick from. At the end I thought there are so many things I can do with knitwear, also I was quite interested in the technology side of it all and how different stitches are created.

-Could you see yourself ever designing a collection that was not predominantly knitwear?

I think I could try it, but I really see myself more as a textile designer first, as I create my fabrics from scratch so I have got more freedom in my designs than other fashion designers.

-Designers such as Mark Fast are giving the world of knitwear a new lease of life, is this something you aim to do? And if so how?

Yes I think it has been a while now since knitwear has been renovated and made modern. It is part of my job as a textile designer to give knitwear a new life and brake boundaries of knitwear being considered as a grandma’s sweater, scarf or socks. There is now a generation of young knitwear designers such as : Mark Fast, Louise Goldin, Derek Lawlor, Sandra Backlund, who have a fresh feel on knitwear and this is something I would like to follow as well, develop new techniques and approaches, to brake boundaries of conventional knitwear.

-What is your own personal style?

I have a casual style when I work, I try to dress into something plain and comfortable such as jeans and t-shirt. But I definitely have more knitwear in my wardrobe than anything else. I do love to dress up for special occasion and sometimes it takes me a long time.

- What are your five must have items for summer?

Long maxi dress, knitted/crocheted cardigan, which is perfect for summer weather in London, flower printed skirt/dress, neon pink/orange coloured tops, jumpsuits.

 -What are your favourite trends, past and present?

Favourite trends are brightly coloured clothing and knitted or crocheted cardigans accompanied with long maxi chiffon dress.

-Who is your favourite current designer? And why?

Louise Goldin is definitely the one to watch! I always follow her collections. I find is amazing how she uses the new techniques and new technology in developing new collections.

-Tell us a random fact about yourself

I’m perfectionist and sometimes it is frustrating for instance when I work on a garment I get involved so much, it is hard to control myself and try not to overdo it.

-Tell us three things you just can’t get enough of

Summer days, sleep, sweets

-And finally, what’s in store for Ekaterina Kukhareva over the next six months?

Over the next six months I hope to show my next season’s collection in London and at the moment I am in touch with a few shops all over the world to arrange the stockists.   

With the aim to make knitwear glamorous and elegant, Ekaterina is set to shake up the world of knitwear, one seductive Tsaritsa inspired piece at a time.

Original published source: http://balladof.co.uk/2011/07/ekaterina-kukhareva/

The Tale behind The Image

ballad cover            

 We know how much you all loved our beautiful cover for the Ballad Of Lola-Bacon issue and we thought you deserved to know the tale behind the image.  So I chatted with Briony Ridley to discover her inspirations and a little more about our wonderful cover artist.

 - What was your inspiration for the front cover of Lola-Bacon and how did the picture come about?

This picture was from the end of a long day of hair and makeup, the hair in this shot literally took hours, but Victoria the model promised me we could pull it all together, and we did. After having her hair pulled and pinched for half the day she was amazingly energetic.
The inspiration for the shoot was Carrie the dancing dog, and I’ve always loved Best In Show. 
 

- Why did you want to get involved with Ballad Of?

Ballad Of is a lovely magazine and it was great to be able to showcase my work alongside all the other wonderful artists. Plus you’ve got to love a couple of girls putting together such an amazing magazine independently. 
 
- What inspired you to focus on photography?

I was studying art history and decided that I wanted to make art instead of write about it so I dropped out of my art history degree, moved across Australia, and enrolled in a commercial photography degree at Melbourne’s RMIT. In the beginning though I just wanted to make nice pictures to go on my walls. 
 
 
- How would you describe your work?

Stories, colours and characters. Most of my ideas start off as a comedy, but by the end have morphed into more of a drama, which is a nice natural progression. My personal favourite images are the ones that could be film stills. 
 
- What are your plans/hopes for the future?

Right now I just want to make time to work on a series I’ve been planning to shoot at my parent’s property. It involves a lot of collecting of costumes, people and props, and a flight half way around the world. 
 
- And finally, what 5 things do you just love?

 Cheddar (the old crumbly kind), Gruyére, Berg Käse, Parmesan, Pecorino..

Briony is originally from Western Australia and has been living in Berlin for the last couple of years.

We love her work and we know you all do too.

Faye

Original published source: http://balladof.co.uk/2011/08/the-tale-behind-the-image/

Lonely London

Within this fast paced city, why is isolation a rapidly growing crisis, especially amongst young women? Faye Nottage investigates.

Many of us have experienced the sensation of loneliness and the occasional bout of isolation at one stage in our lives. For some it is only fleeting, a rare spasm on a dull Friday night at home perhaps. For others it is a form of suffering, a heightened enduring sense of isolation punctuated only by rare moments of feeling involved and integrated.

But with an abundance of social networking sites at our fingertips and with the promise of a ‘poke’ or a tweet at the click of a button, we are still a nation of lonely souls crying out for quality person-to-person interaction, with London considered to be the loneliest city of all.

Loneliness is a continually growing ‘crisis’ within society and, contrary to popular belief, it is not just our mental state that chronic isolation has a big impact on. Our physical health can also be put under intense pressure and be at great risk. The Daily Mail has reported that “lonely people are more likely to develop high blood pressure over time.” This particular research, carried out by Dr Louise C Hawkley from the University of Chicago, followed a group of participants over four years to determine the link between loneliness and blood pressure, and those who felt isolated proved to indeed have higher blood pressure. The Daily Mail again reported that “lonely women could be at greater risk of breast cancer”, claiming that the stress and anxiety caused by isolation can accelerate and increase the growth of cancers. And The Daily Telegraph have even suggested that the feeling is contagious with the capacity to “spread like a cold”, “lonely people tend to spread their outlook on life to others, and over time the whole group of lonely, disconnected people move to the fringes of society”.  Adding to these statistics, The British Social Attitudes Survey has discovered that visits with friends and family members are dropping, and there are more people living alone, with 32 per cent of homes in the UK now housing just one person.

 

However, it is not only the alone that experience this deep sensation of isolation. There are a growing number, especially amongst young twenty-something women living in London, who battle against the mood.  These can be those with apparently active social lives, busy careers, hundreds of Facebook ‘friends’ and overworked Blackberrys and Iphones. The lonely are not easy to spot.  In 2010 alone The Samaritans received 4,957,574 contacts, 46.8% of which were woman. They also recorded that 53.7% of these, whilst not suicidal, were distressed, upset, isolated and lonely.  We are not living these ‘Sex and the City’ style lives, full of joy and daily quality interaction. Are we secretly more Bridget Jones than Carrie Bradshaw? Within this dividing city there is a new breed of woman emerging, and she is hounded by deep solitude and seclusion.

Take Louise Tweed for example, a 24 year old living in London with an exciting job at an advertising agency, a bustling social life and an impressive circle of friends. Despite this seemingly gregarious life, Louise finds it almost impossible to shake the deep sense of unbearable loneliness and isolation that has “plagued” her for the past six years. Louise describes it as a “constant niggling feeling” and one she is ashamed of, “I thought it was something only old people experienced, something that would perhaps happen later in life.” However, Louise’s chronic isolation began at the young age of 18 after moving from her hometown of Hastings to London for university. The thought of moving from a close-knit community to a big city gave her ‘nervous energy, twinges of sadness and extreme anxiousness’.

Whilst university is widely considered to be one of the greatest times of a student’s life, where you can live it up every night and cement life-long friendships, Louise fell into what she calls the “black hole of isolation”, where she has continued to dwell and which is a feeling that has followed her into her everyday life, albeit in secret. “I feel so ashamed of my loneliness; it is much easier to wear a mask of happiness than to share what you truly feel. I just can’t admit to anyone – ‘I’m lonely’.”

But why are we so lonely? What are the main causes of chronic isolation amongst young women in London? Why, in our busy, cosmopolitan, social networking obsessed and career-driven lives - where people constantly surround us – do we still feel alone?

In a recent Facebook survey, 85% of those asked blamed our dependence on sites such as Facebook and Twitter for many of the problems surrounding isolation. They concur that rushing home from work to speak to as many people as possible on a social networking site is in fact not a social life. Substituting human interaction for the glare of a laptop screen or smartphone is robbing us of that ever-so-important face-to-face quality time with friends. And if we are not receiving notifications and tweets every few minutes, it makes us feel even more alone. A recent post on the popular website Post Secret only confirms this idea, “I never realised how much people didn’t want to talk to me until I got an IPhone”. Perhaps it is with this ease that we are able to contact friends every second throughout the day, from the simple touch of a button, that is creating a society of isolated individuals.

With some admitting to the feeling, it is a troubling thought to imagine just how many other people are, and to what extent, hiding their chronic loneliness from those around them. As the novelist Doug Coupland said, “forget sex or politics or religion: loneliness is the subject that clears out a room.” But why the reluctance to discuss the subject? In a 2010 report, The Mental Health Foundation marked loneliness in Britain as having reached ‘epidemic’ proportions. And yet there is still a sense of ‘hush-hush’ surrounding the topic. Why, in today’s vastly voyeuristic society, is loneliness still considered to be a social taboo?

In the recent Facebook survey again, 90 per cent of those asked agreed that loneliness is indeed a taboo, with some arguing that admitting to the sensation is ‘lame’ and even talking about it seems ‘desperate’. With such an attitude, it is understandable that we are now experiencing somewhat of a ‘loneliness epidemic’. Some would argue that the feeling has always been rife, especially amongst young women, but society has failed to acknowledge the feeling and there has so far been no attempt to tackle it and its causes.

One such person who has set out to do just this is author Emily White.  A former lawyer who now works as a writer and policy advisor, suffering from her own  “overwhelming loneliness”, Emily came to write and publish her book Lonely: Learning to Live with Solitude in January this year. But why dedicate a book to this feeling? “Because I had to. There was no other subject for me, no other interest. I’d been having trouble with loneliness my whole life, and – by my mid twenties – my loneliness had become overpowering. I was lonely every day, all day”. Emily admits that whilst she had social interactions, these did not seem to dislodge her persistent sense of aloneness. “I felt crushed by loneliness. I thought about it, I dreamed about it, and – when it came time for me to write – loneliness flowed out of my pen: there simply was no other subject”.

Emily confesses that writing about loneliness has helped put an end to the taboo that surrounds it. She concurs that the apprehension to admit to isolation is “rooted in stereotypes of the lonely as socially awkward, or clingy, or depressing. But nothing could be further from the truth”. Every lonely person she spoke to demolished those stereotypes. “I talked to people from all over, and they were all friendly, open, and curious. Some were funny; others were quaint. They came from all walks of life, but they all had one thing in common: they struggled with loneliness.”

Understandably, with so many considering aloneness an unspeakable subject, many have questioned why Emily would want to write a book about chronic loneliness. The subject, they hint, is embarrassing; its best kept unmentioned. And loneliness, they say, isn’t “real” – at least not in the way that depression or bipolar disorder are real. Emily believes “right now, loneliness is something few people are willing to admit to. There’s no need for this silence, no need for the shame and self-blame it creates. There’s nothing wrong with loneliness, it is not a mark of defective personality or terrible social skills, and we need to start acknowledging this.” Loneliness, she adds, is something that “simply happens to people, and people deal with it as best they know how.”

Nowhere, it seems, considers loneliness and isolation as much of a taboo than in London, the same place that 80 per cent of those asked considered to be the most isolating cities of them all. But why is this city believed to be so dividing and harsh? Perhaps it’s the crowded pavements, the busy hordes, how we incessantly avoid eye contact with fellow commuters, or the competitive nature of business and industry.  Whilst there is not just one answer, there can however be an attempted solution. Someone who understands just how lonely and isolating London can be is Victoria Jenkins. Originally from a small village in the North-West of England, Victoria relocated to London for work and her feeling of isolation, she describes, was almost “instantaneous”.  I didn’t realise until I arrived in London just how big a city it is and how difficult it is to arrange to meet up with others”. She describes how she only knew a handful of people at first and gradually lost touch because “if one friend lives in West London and one in East and you happen to live in South for example, coordinating with people can be a challenge and more often than not you end up spending most nights alone”. But why, in her opinion, is London such a lonely city? “London is huge. Some people think of London and think Big Ben, Trafalgar Square trendy bars and nightclubs, but the reality is that it is sprawling. It is almost like you are spoiled for choice”. Victoria agrees that the city can be overwhelming, causing some to feel as if they do not fit in anywhere. “I believe that in London you can tend not to make friends for life because there is always something new happening or someone new who appears in your life… You tend not to rely on people as much and become more self-sufficient, which can ultimately lead to seclusion”.

In an attempt to ensure others do not experience the same segregation she felt after first moving to London, Victoria set up her own online community Friday Night Sucks. The website aims to “revolutionise” member’s social lives by acting as the middle man for those seeking company for events, functions or just general nights out. She agrees with the taboo surrounding the sensation, “you would be surprised how many people feel exactly the same way you do, but are too embarrassed to admit it”. And with over two thousand members in only its third year, Friday Night Sucks alone proves just how segregated we have become as a city.

But are there other solutions? How can we prevent ourselves from falling into, or indeed pull ourselves out of, our very own black hole of isolation? Perhaps stepping away from the glaring, insensitive laptop screen and breaking up with Facebook or Twitter (like journalist Grace Dent) for a while would help? Or even trading in your top of the range Iphone for the humble Nokia 360 could be your greatest savior. Stephanie Jane, 23 from London found this to be her biggest liberator, “by getting rid of my smart phone and quitting social networking sites like Facebook, I could no longer see the seemingly ‘great lives’ that everyone was posting about. I was no longer aware of insignificant statuses and wall posts and as a result stopped comparing my social life to others. It’s the best decision I’ve ever made, for my own sanity atleast.”

Maybe igniting the seemingly lost art of actual face-to-face interaction is the way forward. As old hat as it may sound, perhaps joining a class, be it floristry, painting or even knitting, would help us create real relationships with like-minded people. This could rid us of our own isolation and in turn prevent future young women from experiencing the chronic aloneness that so many already endure.

Whilst it is clear that loneliness and isolation are very much still considered to be social taboos, embarrassing sensations to admit to, and to some dismissive problems, it is important to acknowledge the fact that at one point we may all experience these feelings. Loneliness can attack anyone of any background and at any stage, perhaps you’ve recently lost your job, are in the midst of a ‘quarter-life crisis’ or simply feel lost in this fast moving city, speaking out just might help you battle it. And as Victoria Jenkins says, “If you are brave enough to stand up and speak out, people will thank you for it.”

Feederism

                          

At a glance, logging into Fantasy Feeder is much like any other online chatroom or dating website. Different forums, threads, conversations, images of scantily clad members looking for attention and an array of suggestive, intriguing and humorous display names fill the screen and ignite interest in many passersby. But look closer and you’ll begin to notice something out of the ordinary. BBW (that’s Big Beautiful Woman), SSBBW (Super-sized Big Beautiful Woman) and SSBHM (you guessed it, that one stands for Super-sized Big Handsome Male) are all names that pop up for a ‘chat’.

Yes, this is a world where size really does matter. But we’re not talking about your ample appendage or ‘fun bags’, oh no, it’s the surrounding flesh that really gets SSBHMs going here.  This is a place where “I want to thrust to orgasm between your folds” is a desired one-liner and a coveted compliment. Where instead of dildos and vibrators giving pleasure, its hotdogs and Twinkies that truly arouse. And there are plenty more like it. From Feedee World to Fattie Gossip and The Weight Room, any BBW who seeks a SSBHM can log into these havens from the comfort of their own home, whilst snacking to their hearts content.

We have all heard of it. Feederism, the relatively underground sexual fetish which involves one partner (the feeder) ‘nourishing’ the other, both to gain sexual arousal and gratification during the act and to encourage a gain in mass of the feedee. But how much do we really know about it and those involved?

Feederism can often vary in nature, from a consensual act between two people, who clearly love and have an admiration for a larger figure, to non consensual abuse, which can often involve force-feeding and bondage. It is undertaken with the intention of fattening up the feedee to the point of immobility and complete reliance on their sexual partner.

But what is the attraction you ask? Contrary to popular belief, satisfaction can be obtained from the smallest amount of weight gain to the largely circulated image of eventual morbid obesity. In this case, feeders typically find the fondling of their overweight partner’s adipose - fatty tissue - particularly arousing, and some male feeders typically enjoy inserting their penises between the deep folds of their partner’s body, thrusting to climax between their skin. Equally, they may be stimulated by overhanging flaps on the thighs, arms and back, and female feeders have an overwhelming interest in the overweight male’s larger breasts. However, in some instances, the real satisfaction comes from the act of eating, feeding and the enjoyment of food in an intimate context. For some, the weight gain is merely an added bonus.

Another act enjoyed by fans of the fetish is Stuffing. This is the practice of smaller women gorging until their abdomens become swollen and bloated. It is believed to cause arousal due to the pressure within the body upon the sexual organs. Other common practices that stimulate partners purely from the act of eating include Funneling. Here, the feeder places a clear plastic funnel into the mouth of their partner and pours food and thick liquid, commonly cake batter, down the feedee’s throat whilst said feedee performs an array of sexual practices on their lover. Everybody’s a winner.

One whose fascination with the fetish is so intense that it has become their work is James Carter. Carter, a playwright from New York, wrote a play entitled Feeder: A Love Story. The play follows the relationship of Jesse and Noel. Like many other couples, they met online, fell in love, and got married. When Noel and Jesse delve into the underground community of feederism they unlock an astonishing world of passion, love and food. The play follows the couple throughout their relationship, delving into their deepest passions and desires.

The play, directed by José Zayas, starring Jennifer Conley Darling and which opened in New York early March this year, presents a transmedia theatrical event, bringing together a live webcam feed and internet video blogging from jessennoel.blogspot.com. It is aimed to connect with and engage the audience online before and after the play. On the blog, the actors post video and text about their lives as feeder and feedee, revealing the terrible and heartbreaking pitfalls and difficulties but also the insatiable cravings and rewards of this food fixation.

For Carter, it was vital to show the fetish (and his characters) in the truest form. “There are extremities to feederism, but deep down the people who live this lifestyle are just people. Most do not consider it a choice. It is the way they were born.” The play’s intention is to quite simply “explore the ambivalence we all live with about food, our bodies, and our public and private lives. On the one hand obesity is an epidemic, especially in America. On the other, eating disorders are among the most complicated illnesses to treat and kill hundreds each year.”

Aside from exploring the larger issues and problems we face with regards to food and weight, Carter agrees that above all else, the play is about acceptance, experimentation and love. “As with any alternative lifestyle, people get easily offended, especially when it is outside of the social norm. Society has drilled into every one of us the idea of what beauty is supposed to be. And with society’s view of beautiful comes the pre-conceived notion of who deserves to be loved.

There are some cases and ways in which this underground fetish is continuing to come to the forefront, but is gaining less than supportive attention. Donna Simpson is one person doing just that. Simpson, 42, from New Jersey has set herself the ultimate goal to become the world’s fattest woman. Hoping to stuff herself to an astounding 1000lbs she anticipates reaching her goal weight in just two years by consuming a mighty 12,000 calories a day. A mean feat for even the most experienced feedee.

To support herself during her weight gain mission, Simpson has set up a website where her viewers and ‘admirers’ can pay to see her chomp, munch and guzzle and even pose in evocative photographs. In a video posted at Fox News, Simpson explains “I also have videos of me because they like to see me in motion and see how my fat jiggles and moves”.

Simpson, whose husband is allegedly encouraging her weight gain and who, as she puts it, is a “real belly man”, admits that she adores the fact that perfect strangers are willing to pay to see her gorge and binge simply because “they are paying to see me and they adore it just as they would a woman of normal size”.

Yet, not all are as supportive or infatuated with Ms Simpson and her fetish. Allen Steadham of The International Size Acceptance Association explained how “ISAA promotes self esteem, healthy food choices and exercise at any size as part of our Respect Fitness Health initiative. What Donna Simpson, and many like her, are practicing is not acceptance.” A spokesperson for the National Association to advanced Fat Acceptance agreed, “NAAFA supports an individual’s right to control all choices concerning their body. As it is reported that Ms Simpson’s partner encourages her to gain weight, NAAFA opposes this, just as we oppose the practice of feederism.”

It is clear that feederism is a subculture which, on the whole, withdraws from the spotlight, and some may agree with good reason too. Fat acceptance groups, such as NAAFA and ISAA, spurn partakers of the fetish for fear that it will only increase and deepen the amount of fat hatred that already exists within society. They, and many more, believe the fetish and those involved to be no more than a symbol of someone else’s perversion.

So back to the Fantasy Feeder website. By delving into the huge amount of chatrooms and websites dedicated to feederism and by exploring this world, the message surrounding the fetish is clear. It is about desire, fulfilment and above all pleasure. A member of the chatroom, let’s call her BBW, describes how “there is such a perverse fear of obesity in our society today that breads a negative impression of anyone that isn’t at least trying to lose some weight”. She continues, “let’s face it, we feeders and fedees are few and far between. We practice a special brand of kink in the privacy of our own lives and we do not seek or expect approval from any of the general public.” When asked if feederism is a perversion, BBW agrees “yes it is perverse but who is to say perversions are bad? We are all perverse in our own way, although we may not all be confident enough to pursue it”.

And this is the thing about feederism, yes it may be unhealthy, to some disgusting and grotesque and ultimately a ‘perverse’ fetish. But it is a way for an alternative community to gain joy, gratification and in the end sexual pleasure and fulfilment from something they love. Their unrelenting desire and insatiable hunger is what drives them, and who are we to disagree? Now, would someone please pass the cake?

The Charm of Essex

Faye Nottage discovers why Britain’s very own ‘Orange County’* is more desirable than ever.
(* that’s fake tan, not the fruit)Slowly but surely I am beginning to see the great qualities that those from the county possess - the drive, confidence and blunt honesty. This doesn’t mean I’m about to slip into a mini dress and layer on the fake tan however, but a deeper appreciation is certainly beginning to develop. Finally I, like many throughout the nation, can see the true and unrelenting charm of Essex.
 
 
Watching Stacey Solomon win I’m A Celebrity was more than just a nice thing to see, it struck a chord. Not only was she winning for herself, but for many young women watching at home. I’m an Essex girl, and getting prouder by the minute.
It has been a good couple of months for Essex. First the nation was gripped by ITV2’s documentary series The Only Way is Essex, in which they were given a fly on the wall insight into the dramatic and glamorous lives of the county’s brightest and hottest, then the Queen of Dagenham Stacey Solomon was crowned Queen of the Jungle and now Colchester’s very own Matt Cardle promises to top the charts by winning The X Factor.
Yes, the place once ridiculed for its caricatured and somewhat outrageous inhabitants, with its peroxide blonde, white stiletto wearing, fake tan loving, promiscuous and loud stereotype, is now more popular and, dare we say, alluring than ever.
The term Essex Girl is beginning to signify so much more than its Dictionary definition of “a young working-class woman from the Essex area, typically considered as being unintelligent, materialistic, devoid of taste, and sexually promiscuous”. Yes, our Essex Girls and Boys are beginning to steadily redefine this stereotype.
It seems everyone wants to know about Essex Life. There is a new intrigue and even an affiliation with the Essex Boy or Girl. But why has the nation suddenly taken this once mocked county to its heart? What is the sudden charm of Essex?
The widespread stereotype of an Essexonian has always existed. The short skirted, skin tight dressed, mahogany tinged girls and the predominantly metrosexual boys with their ‘Brentwood Sweep’ hairdos, both with their colourful choice of words and expressions, are known all over the country (and I’ve found even the world). It is a stereotype that resonates throughout the nation. Yes we have our Geordies, Scousers and Cockneys, but it is the Essex Boy and Girl that everyone knows and has an opinion on. Sophie, 25, from Norwich agrees, “before I had even been to Essex I had a colourful image of what the people were like. Fake tans, cheap clothing, personalized number plates, promiscuous and uncouth behaviour, all these things said Essex to me.”
As a born and bred Essex girl I had always strived to rebel against the typical stereotype and idea attached to me and my neighbours. Keeping my skin naturally pale, leaving the false lashes safely in Boots stores and preferring to cover up in tights instead of the obligatory bare legs and short skirts combination favoured in my neck of the woods, seemed the simplest and most effective way of distancing myself. And spending as much time in Hoxton and Islington bars instead of populating Essex favourites Faces and Sugar Hut, was once my ‘ticket out’.
But why should I want an escape I hear you ask? Shouldn’t I be proud of my roots?
I know many girls who are the epitome of the stereotype and are proud to be so. Natalie, 21, from Hornchurch is a self- confessed Essex Girl. “I know who I am, what I like and the lifestyle I want to have, so why shouldn’t I play up to this perceived idea?” This is a common feature of an Essex Girl. Strip away the thick layers of fake tan, foundation and bravado, and what you’ll find is someone who is totally unapologetic about who they are. “People from Essex may be perceived as common and crass, but we are honest and approachable, why should this be considered a bad thing?“ They do not care what anyone else thinks, just as long as they themselves are happy. And this is just one of the characteristics that make our Essex brothers and sisters so refreshing and charming.
But when were the Essex Boys and Girls born? The first memory of this kind of individual has to be Lesley Joseph’s character Dorien Green in the popular 1990s sitcom Birds of a Feather, of course set in Chigwell. With her big hair, glitzy ensembles and sometimes outrageous behaviour and outbursts, she was the epitome of all things Essex. Shocking but lovable, she made the notion of Essex even more intriguing to all who watched. Granted, today’s Essex sister appears to be even more extreme, vulgar and, some may argue, out of touch with reality, but she is still just as fascinating and even entertaining.
She has of course evolved with the help of much publicised ‘celebs’. The image has been personified and used to even degrade in celebrity culture with the likes of Denise Van Outen, Jade Goody, Jodie Marsh and Big Brother’s Chantelle Houghton all rising to fame with the help of their Essex Girl image. The media took the bate and now these ladies, known for their outlandish appearance and behaviour, more often than not sum up what Essex is to the majority of the country.
But the concept is evolving further and all Essexonians can now breathe a sign of relief. Long gone are the days of ridicule and contempt, as our fellow inhabitants have captured the nation’s interest and are beginning to charm their way to success. Take Stacey Solomon for example, a young girl from Dagenham who eventually became Queen of the Jungle late last year. Her bubbly, rather ditzy personality, fierce pride of her roots, zest and unrelenting ambition struck a chord with the nation. She is now one of our most loved TV personalities, and even an unlikely modern-day heroine for many young ladies. Not bad for a former fish and chip shop worker. And Matt Cardle, a former painter and decorator from Halstead, proved popular on The X Factor because of his working class roots and grafters principles, something that greatly appealed to the nation.
And now the cast of ITV2’s The Only Way is Essex are set to make it big, with tabloids and gossip magazines lining up for exclusive interviews and photo shoots. We have taken these glamorous girls and Jack the Lads to out hearts, but why the interest?
Why has The Only Way is Essex struck such a sudden chord and produced great public interest? Since it first debuted on October 10th 2010 it has shown real people going about their normal lives with no help from a script. Above all, they are characters that we can all relate to. Friendship, love, work and money is what drives us all, and there was definitely no shortage of this throughout the series. To see such primitive feelings and needs splashed across our TV screens for 60 minutes a week is an easy way to live out our own problems, concerns and even insecurities, and all from the comfort of our sofa. And the charm of escapism is often too alluring to ignore. Where else could you watch a real life lad present his girlfriend with what he believed to be a micro-pig, only to be told it was infact the regular sized farm animal, ala Arg and Lydia? But did this bother or humiliate them? Of course not. Essexonians have a great sense of humour, formed from years of being the target of jokes - “why do Essex girls wear so much hair spray? So they can catch all the things going over their heads” is my personal favourite - so a glitch like this is effortlessly transformed into a funny anecdote to later relay to friends. What could be better, more entertaining and indeed easier than watching and experiencing this? The fact that these are real people showing true, raw emotions only makes for better viewing and subsequently creates a stronger affiliation towards them. Why are Essex girls the best in the world? Essex girls’ dreams are more vivid than anyone else’s because the county itself is so monochrome. We are grafters, too, and independent: we have had to be“. This innate sense of drive, ambition and extraordinary work ethic is what sets our Essex brothers and sisters apart from many young people today. There are no tidy nest eggs in Essex, thus there is an instilled awareness of the need to work hard and succeed, no matter what profession or path is chosen.
In a recent article posted online journalist, and fellow Essexonian, Liz Jones wrote “
Much like their ancestors, who in the 1930s and 40s moved to the county from the East End in order to better themselves, this idea of the self-made man still resonates deeply with the people of Essex today. There is something extremely attractive and endearing about someone who is prepared and willing to graft for the finer things in life - indeed there are no Paris Hiltons residing in mansions throughout Chelmsford, Brentwood and Upminster.
Yes, Essex hasn’t changed much over the years, and yes it is a bubble. The generation gap is admittedly tiny, sons are like their dads and daughters like their mothers, but isn’t this positive? Surely a society based on good old-fashioned morals and ethics can’t be a bad thing.
The truth is, our Essex stars - be it Stacey, Matt Cardle or the cast of TOWIE - are simply offering and displaying advantageous qualities. Drive, confidence, humour, vigour and the want to succeed are all assets to be proud of, and characteristics that we would all benefit from adopting.
The people of Essex today, and our The Only Way is Essex favourites in particular, are simply reflecting the values of the culture in which they have been brought up. This honesty, ambition, humour, confidence and pride - which has so perfectly been propelled into the social and media consciousness - is the real delight that this county has to offer.
So back to my earlier question, the simple answer is yes. I am proud of the place in which I was raised. Infact I am a little smug, and why shouldn’t I be? No longer do I tell people I’m from London instead of Essex, no longer do I mock and stereotype my own. And I certainly do not think us Essex Girls need the charity set up to help us overcome our criticised image, thank you very much The Essex Women’s Advisory Group.