LFW is over! :(

Hi All,

Wow, I can't quite believe that Fashion Week is over for another season! At Vauxhall Fashion Scout, there were some supremely talented designers that I had the chance to meet and speak to.

I have to say that the fashion industry is becoming increasingly diverse, making it more and more fascinating. Not only did these designers have very different collections, but they all had a new way of looking at the world of fashion and were trying to stamp their own mark on it. This could be from using a new process, having a different purpose through design or trying to create a whole new aesthetic. This contributed to an extremely wide range of collections that were fascinating to review.

I have put some reviews up, more to come!

Enjoy!

Kate x

Charlotte Helyar Spring Summer '13

One thing is for sure, the collection from Charlotte Helyar makes her stand out from her Central Saint Martins classmates; it is a collection that immediately makes you want to find out what it is all about and what inspired such an interesting collection. White blank canvas garments, none the less impeccably cut, are printed with fascinating, optical illusion prints that play tricks on the eyes.

 With a passion for screen printing, Charlotte is inspired by trying to find new techniques and results from different methods of print design. “I am really inspired by analogue graphics and 80's album artworks and early iD magazines”, this shows clearly in the collection; although the garments are cut in a very modern and almost futuristic way, the prints give a clear nod to previous decades through their colour use and almost psychedelic nature. In line with this, Charlotte pushed traditional methods of printing; all of the prints are hand-printed using the CMYK colour system and by printing in dots that overlap each other and consequently create some really interesting effects.

It is impressive that, from a distance, the prints look fairly digital and you would not initially assume that they were printed by hand. You cannot see the pixels until you are right up close to the garments, which is fascinating as collections are best when they develop in your mind and you look further into them. Even though they look digital, the printed motifs are inspired by 17^th century artworks, which have a real contrast with the block colour shapes and letters on the garments. The hand-printing technique allowed Charlotte to play with print in a way that you cannot do digitally, printing over folds and seams to distort them even further. There is no visible stitching on the garments, the edges of the fabric are not finished and are cut in very geometric lines, but this allows the fascinating prints to speak for themselves and this attention to not overdoing things and creating the perfect balance within a collection is no doubt what has impressed so many people. Central Saint Martins are renowned for encouraging their students to find their own niche and something that they are passionate about and it seems that this is what Charlotte has done.  

David Koma LFW SS13

Two years ago, designer and Central Saint Martins graduate David Koma won the coveted Merit Award at Vauxhall Fashion Scout and ever since he has had great success to critical acclaim with some of the world's most famous celebrities, Beyonce to name one, becoming fans of his designs. David Koma revealed his Spring Summer '13 collection this morning at Somerset House and provided beautiful spring designs inspired by the amazing summer of sport that London has just been home to.

 Influenced mainly by Tennis and Wimbledon in particular, to inspire his designs David spent time at the event, getting to know the sport and the players. Taking this sportswear influence, he put the David Koma twist on it and consequently created something intelligent and refined but still true to it's original inspirations. The collection featured a palette of tennis white, Wimbledon greens and yellow and inclusions of black and electric blue that gave the collection a more futuristic edge. Describing the collection as “Hard, fast and beautiful” in an interview with VFS partners Fashion Monitor earlier this year, this was exactly what it was with bold panelling juxtaposed with voluminous pleats that provided movement as if playing in the wind at Wimbledon. Enlarged net-like prints played with scale and almost created a 3D look, bringing contemporary edge to a traditional inspiration.

The collection had a stunning array of fabrics, from opaque black heavy jerseys to sheer silks. Translucent vests and shirts layered over tight, panelled dresses and cut in innovative ways enhanced the looks taking them from sportswear to contemporary high fashion. The innocent tennis whites were made slightly more rebellious with geometric cut-outs, and black dresses were embellished with patent elements that gave the whole collection evening looks that were sophisticated and chic. Once again, the designer gave us designs that are wearable and commercial however still pushing boundaries.  

Bernard Chandran SS'13 at Vauxhall Fashion Scout, London Fashion Week 2012

Pre-show, the Bernard Chandran catwalk was bustling with excited guests waiting to see Bernard's sleek, feminine creations. Known for interesting fabric combinations, innovative silhouettes and sophisticated colour palettes, he is a master of design and cutting and always creates cohesive, chic collections that never fail to impress.

The music begins with the first line of the song “You are the only one I ever loved”, as the first model appears mysteriously behind the iron gates in the atmospheric catwalk space and makes her way down the runway. The collection is inspired by 'the rough edges of a close friend's love tale' but instead of focusing on the heartbreak and the angst, the Bernard Chandran collection depicts the confident woman who is not fazed by the dramas of love. The first look oozes confidence, a perfectly cut white dress, accessorised with sunglasses that bring summer into the room and create connotations of an elegant, authoritative modern woman.

Famed for attention to unique and interesting details, the dresses turned this seasons dropped back hem on it's head and gave us dresses short on the back, and floor skimming on the front. In some of the outfits, this gave the impression of almost two designs merged together. The look is designed to show 'simplicity on one side and curvier, more detailed lines on the other'.

One of the most impressive concepts was patent leather-fronted jackets that had impeccable details and were then backed with silks and triangular prints that provided a perfect harmony. Beautiful panelled dresses continued this harmonic feel with sections of lace, leather and satin all in similar tones that worked together perfectly. The collection seemed to have so many influences; elements of art deco, retro and most interestingly elements of functionality, a popular trend this season. Jackets featured large pockets across the crest of the back which were made of leather or PVC which made a bold statement about fashion being functional as well as aesthetically pleasing. Despite these unusual features, the collection was extremely commercial with linear patterns, intricate sequin work and a dip into flowing nudes and pastels which anyone would be happy to wear. 

The collection was strangely 'Girl next door' meets the modern, confidant woman which surprisingly worked really well. As always, the collection was feminine but forward thinking and proves that Bernard thinks carefully about the shape and personality of the modern woman he is designing for.  

Nottingham Trent University at Graduate Fashion Week

Nottingham Trent's Graduate Fashion Week show went back to basics and concentrated on the techniques of fashion design and how they can be developed to create new and exciting ideas. The pattern cutting was exquisite, the knitwear was sophisticated and technical and the show as a whole evoked a sense of class.

Beautiful fabrics were chosen by designers such as Rebecca Munn, whose collection was stunning and full of fluid silks and sheer fabrics. Her pattern cutting was second to none, and hints of subtle prints on the bottom of the silk dresses gave the designs another dimension. The collection was accessorised with neon acrylic accessories that gave the colour palette a flicker of bright tones. Beautiful fabrics recurred throughout the Nottingham Trent show, with the collection from Hannah Sharp being in completely black and white but with both horizontal and vertical stripes contrasting with each other, the overall look was amazing. Gathering and pleating added a 3D element and details such as oversized pockets on the back of jackets showcased Hannah's talent for design. 

The menswear collection from Amy Terrell featured some great geometric prints with cube designs that complimented some fantastic tailoring perfectly and concluded with a stunning outfit featuring a soft, fluid jacket with a bold brown and orange print over a polo and skin-tight leggings, accentuating the jacket.

The knitwear throughout the Nottingham show was intricate and well considered. Fine gauge knits were gathered in the collection of Holly Marke to create innovative and creative silhouettes. Subtle metallic and mohair detailing gave the collection a regal sense that was chic and sophisticated. Tamsin Lakhani created knits with delicate stripes and subtle patterns imbedded within that were reminiscent of that of Missoni, with holding checks and geometrics on simple but stunning silhouettes that allowed the knits to speak for themselves. Olivia Williams used a palette of coffee hues within an amazing combination of laser cut leathers and soft knits that provided an impressive contrast of weights and textures.

Lastly, the collection from Yuchi Ozaki had everyone in the audience smiling with it's fun, but perfectly constructed garments. As the models came down the runway, they unzipped their jacket lapel or dress panel to reveal a stunning laser cut or folded fabric underneath, much like a fold out birthday card. The reveal element was so innovative and only enhanced the classic tailoring that Ozaki had to offer.

Nottingham Trent showcased some amazing talent with perfect construction and sophisticated collections. The knitwear was sublime and tailoring was spectacular.

Photographs by Charlotte Headdey

DeMontfort University at Graduate Fashion Week

As soon as we got our tickets for the DeMontfort show, a monochrome graffiti style print coated in plastic and containing polystyrene balls, we expected hyper-modern textiles using found materials and brand new technologies. The students sent their collections down the runway, and that was exactly what we got. The collections from DeMontfort were so on trend for the upcoming seasons, making use of every material possible from plastic to acrylic to metal and putting them all together to create some outstanding looks that were in line with the trends of techno textiles and hyper-modernity that will be hitting London Fashion Week in the next couple of seasons.

The knitwear from the university was supreme. The work of Alison Woodhouse took so many neon tones and put them into designs that were wearable but extremely contemporary. Geometric pattern knits in every colour way possible were put together and combined with stuffed knits that had be plaited together to provide structure and a contrasting texture. The knitwear continued into menswear, where Clare Sant combined textured knits with clashing prints, and even a knit print that gave the collection a more delicate, lightweight edge in comparison to the chunky knits. The colours were predominantly primary and the prints were tribal, creating a fairly ethnic look that worked with the range of textures. Kelli McGuiness brought another new knitwear dimension with knitted hold technique dresses that revealed fun, quirky prints underneath; the combination of print and knit was popular at DeMontfort.

In contrast to the extreme textures and silhouettes of some of the collections, others evoked a softer, refined feel that concentrated on the intricate pattern cutting and panelling of the pieces. Amanda Salway's collection of Menswear featured exquisite Timorous Beasties style prints combined with delicate checks in pastel tones, with unusual sheer fabrics. Denim in tones of ochre and blue brought a new edge to the denim jacket. Nicola Froud continued with the pastel theme, with some interesting layering of skirts over trousers and interesting techniques of pleated fabrics appliquéd on to the front of dresses and jumpers. The collection had a sportswear style influence, but done in a very feminine way.

Lastly, the use of unconventional materials was something that stood out at DeMonfort on the whole. The collection from Charlotte Baty, featuring hundreds of cable ties woven into knit that almost looked like fur was stunning. Plastics were woven together in macrame techniques to create cuffs and neck details. Jade Clark used a whole host of reflective materials from PVC to organza that abstracted the prints beneath them creating a really unusual look. DeMonfort were very impressive in their creation of new looks and techniques and the collections were fresh and exciting.

Photographs by Dani Farrow

Edinburgh College of Art at Graduate Fashion Week

Eerie music filled the room as everyone prepared to see the final collections from the students of Edinburgh School of Art. A model with her face covered steps on to the runway and sets the mood for the first collection of the show. Jacob Birge's collection headed down the runway with a sense of mystery but power as his models walked with their heads covered by fantastic headwear and showcasing his PVC cladded creations.

Themes running through the collections from Edinburgh were that of structure and volume. How this was achieved varied from structured fabrics to an overload of layering but one thing was for sure, bigger is better. The students demonstrated a love for a contrast in materials, combining leather with flowing silks and tailored wovens with PVC panels and metal accessories. The collection from Jacqueline McLardie in particular, provided a host of stunning fluid prints with leather tops and waistcoats constructed with panels of leather that looked almost like an animals shell and gave the impression of armour.

Oversizing was another method of achieving this volume. The menswear collection from Riona Horrox combined unconventional materials into menswear such as fur and oversized everything from shirts to huge puffa jackets that created interesting silhouettes through the use of padding and clever panelling.

The concepts behind the collections at Edinburgh School of Art are clearly very interesting and the students want to make an impact on the industry by creating collections that are refreshing and contemporary. There was masculine womenswear, feminine menswear and a unisex collection, playing on ideas of gender and androgyny and creating a fascinating, diverse showcase of collections.  

Photographs by Charlotte Headdey 

Fashion Films..

 Whether you are in the middle of finishing your final collection, or just starting out as a designer, everyone is looking for that infamous edge that will get you noticed by all the right people. With technology ever-evolving and creating new and exciting portals for showing your designs to the world, fashion films are contemporary way of doing so and many top designers are showing us how it's done.

Business of Fashion have announced their top ten pick of the 'Fashion Films of the Season', and watching them all confirms how inspiring and exciting the evolution of technology can be. One of the top films for Spring/Summer 2012 has to be that of Prada, which depicts a fantasy America in the 1950's. A car radio is tuned into different tracks as the camera settles on different models, the song proposing to match the model and outfit. It is a very clever piece of marketing, whereby viewers with different tastes in music or genres will all enjoy at least some part of the film, making it very effective by widening its target market. The close-up shots in the film focus on the accessories, an important part in this seasons Prada campaign and it gives the film a sense of glamour and luxury.

Another great film is that of Victoria, by Victoria Beckham. Considering Victoria's usually clean cut, sophisticated style, the film is surprising in its mood being fun, playful and quirky. In some ways the film is fairly simple with a quite choppy filming method and its features of torn paper and simple reflections of images, yet it really works and you cannot help but smile when watching. The film has some childish elements which make it yet more endearing and the image of cats is recurring, reflecting the use of them within the prints of the collection.

So whether it be for your current or next collection, make a fashion film that adds a fun, but contemporary edge to your designs and would be sure to grab some attention!

See the films at: http://www.businessoffashion.com/2012/04/fashion-2-0-top-10-fashion-films-of-the-season-6.html

VPL

Whilst researching interesting silhouettes within fashion and also the ways in which unusual materials can be used to create such shapes, I was led to the discovery of the most recent work of London College of Fashion graduate and designer Victoria Bartlett, otherwise known as brand VPL. Her new collection for Fall 2012 is extremely inspiring in terms of using the shape of the body to work with and further the effect of her designs but also to reflect the silhouette within the garments. 

Within the collection, many concepts have been addressed and used as inspiration for the designs, and it is clear that colour combination, shape, fabric choice and diversity have all been considered to produce a vast collection that is so eye-catching and interesting. There is so much more to discover about every garment as you allow your eye to linger upon them and really consider how they have been made. A lot of attention has been placed, by analysts of the collection, on the use of colour and the concentration on light and shadow within the outfits and although this is fascinating, what is most intriguing is the structure of the fabrics and the shape and construction of each garment. The knitwear is perhaps the most interesting, with a huge amount of experimentation being shown with shapes that can be created within the knit and how the fabrics mould to the body; the geography of the body is said to be a strong inspiration to Bartlett. In the image shown, the asymmetry of the top half of the outfit juxtaposed with the mirrored structure of the shorts is perhaps the most intriguing and also the combination of tight fabrics and shapes that extend from the body. 

This idea of the challenging of the shape of the body is extremely fascinating and also relevant when considering prominent issues within culture today. In a society where it is possible to almost entirely change the appearance of ones body through the use of clothes and more extreme methods such as surgery and extreme dieting, it seems there are fundamental issues regarding the obsession with body image that should be addressed by the fashion industry. The ways in which Bartlett's fabrics contrast between those that are tight fitting and reveal the body, and those that are loose, and cut in a way that extends or hides the shape of the body is very intriguing and acknowledges, even if not directly, these issues. Some of the knit structures convey the bone and muscle structures of the body implying that the these structures are visible from the outside of the body, suggesting ideas of emaciation and issues such as anorexia. Body image and silhouette are an extremely important part of fashion design and provide inspiration and a basis for design, however it seems the fixation with this is having a negative impact on the self-acceptance of society and perhaps these problems need to be considered more within this industry.

However, it is undeniable that Bartlett has created a stunning collection with such attention to detail, from fabrics to accessories, and garments that work together extremely well but are also so dynamic and intriguing by themselves. As a knitwear designer, her combination of knitted fabrics and jerseys is similar to my own style and provides great inspiration for garment shapes and knitted textiles. And as stated at the beginning of this piece, perhaps the most fascinating part is the exploration of the silhouette and the cultural issues that her designs evoke. 

Junky Styling

It is rare to find a fashion label that is entirely sustainable and eco-friendly, even though many claim to be so. A visit to Brick Lane and to the fashion brand Junky Styling was truly inspiring and evoked thoughts about the practice of fashion and how it can be made so much less environmentally harmful if the right ideas are considered.

Junky Styling garments are all made from second-hand clothing of the highest standard that is deconstructed and designed into a new, innovative, one off piece. The garments are completely transformed and go from second-hand clothing to couture fashion and this process is something that should be followed by so many more figures in the fashion world. Not only this, the company have a part of their business called 'wardrobe surgery', whereby anyone can bring in a piece of theirs to be transformed. This itself is single-handedly tackling environmental issues within fashion, as instead of going out and purchasing something new, adding to the issue of over-consumption, a person can bring in something old and have it used to create something entirely new, giving the same sense of satisfaction that comes with a new piece, without the environmental impact.

Following the example that Junky Styling gives, and exploring ideas of recycling within design is a really interesting concept and can really make a statement about changing the way of the fashion world. Within knitwear, it is interesting to consider what could be deconstructed and knitted together to create some fascinating textures and fabrics. During this current project, ideas about shredding swimwear and knitting it together to create stretchy fabrics that hold their shape have been considered, and also even knitted old sailing rope together to create chunky, structured knits. Accepting a new philosophy about fashion consumption is what is needed, and although companies such as Junky Styling are working in the right direction, more attention still needs to be paid to the adverse effects that fashion is having on the world. Kate Fletcher states that as while reducing what you buy or choosing second-hand, recycled or organic is extremely positive and tackles the impacts related to the scale of conspicuous fashion consumption, it does little to influence its root causes. Society as a whole needs to become more aware that fashion is one of the main contributors to environmental issues through its production, transportation and disposal and that if it continues in the current way, we will be drowning in our own discarded clothes. 

Ara Jo - Spring Summer 2012

The work of Ara Jo is a huge inspiration within fashion and textile practice as she challenges common perspectives of what we define fashion and also how the body is represented through clothes. Although she only graduated from Central St. Martins in 2009, Jo is already popular with celebrities such as Lady Gaga and this is not surprising due to the uniqueness and innovative style of her designs. Ara Jo has been a constant reference over the last year when looking at ideas of restriction and body image in design and the image pictured from her Autumn/Winter 2009 collection shows a small part of an amazing collection. Jo's designs use the fabric to experiment with the abilities and restrictions of the human body and how clothing can effect this. They explore ideas of exposing and revealing the body, which is a prominent issue in society today with the emphasis that is based on perfecting the body and one's consciousness with the figure.

Ara Jo's most recent Spring/Summer 2012 collection furthers these ideas and tackles, not directly but it is clear that this is the intention, the problems with the negative influence that celebrity lifestyles are having on self acceptance and body insecurities. The collection is said to be based around celebrity lifestyle and appears at first almost a celebration of it, however the names of the pieces with negative connotations such as 'the overdose jumpsuit' suggest that the collection is attempting to raise awareness about the destructive sides of such a lifestyle. One could say that this is a very brave, yet positive statement to make considering the problems in society with the obsession with celebrity and attempts by young people to imitate them, with disastrous consequences. The concept suggests that attempting to achieve this 'perfect celebrity body' by drastic methods is dangerous and that self-acceptance is much more important.

The garment shapes themselves are also very innovative and inspiring, true to form for Ara Jo. There is contrast between very revealing garments and designs that challenge ideas about the shape of the body, as shown above. The colours are very bright with bold prints and type that are said to 'scream 'look at me''. This sense of arrogance that some celebrities have also adds to the negative influence that they have over young people. Celebrities are becoming increasingly arrogant, convincing themselves and everyone around them that they should be, and look like them. This is confirmed by the title of the collection – “The Super Egos”. P. David Marshall's ideas about our own self acceptance and how these relate to the influence of celebrity suggest that the body is seen as something to be altered to fit into the normative range of what is considered beautiful. This means that we do no longer compare ourselves to other human beings, but to edited, media enhanced images of human beings, that are not at all accurate depictions of how a body should look.

Boris Mikhailov exhibition - Tate Modern

Viewing a photography exhibition in the Tate Modern today proved extremely thought provoking about a subject that is perhaps overseen slightly in the education of young people today. The work of Boris Mikhailov is being exhibited in the Tate currently, featuring two photographic installations in one room. The most prominent one of the two is named Red, and depicts photographs arranged very particularly of Soviet Ukraine between 1968 and 1975. The photographs are images of Ukraine taken by the artist in his hometown of Kharkov and feature a wide range of subjects from the streets of the city to the people in it.

When the installation is first approached, the initial thoughts are immediately the prominence of the colour red in every photograph. The photographs are arranged on the wall in a very particular way which as you read the accompanying information you realise is very deliberate and significant. There is the colour red in every photograph, from very small, almost unnoticeable amounts to almost the whole photograph being red. Within the installation, the amount of red changes according to the placement of the photograph, with the most red being in the centre, to the lesser amounts around the edges. This creates a fascinating visual effect and draws your eyes simultaneously to so many areas of the wall, which can be a little frustrating almost but provides quite an overwhelming sense of intrigue. This encourages the viewer to really spend time looking at and understanding the photographs and the history and meanings behind them. Some of the photographs are very graphic and poignant and make the viewer feel empathetic towards the people who lived through some horrific conditions under the Soviet government.

One of the most thought-provoking images depicts a child waving the flag of the Soviet Union. His facial expression and stance convey him with an innocence and this is furthered by the appearance of a set of swings behind him. He is very young and one cannot help but wonder why he has the flag, but perhaps the most poignant element is the contrast between the innocence of the young boy, and the violence, horror and death associated with the Soviet flag. The other image that can be found particularly disturbing is that of a woman lying naked in what seems to be a net hammock. The net is digging into and restricting her body in a way that almost portrays a hock of meat that has been tied. The woman's face and head is not visible, almost objectifying her and her body as if she is unimportant and has no identity. This could reflect the millions of deaths that occurred during the Soviet Regime, in the way that the people were killed regardless of who they were, but simply because of what they believed or did. This is furthered by the violent nature of the photograph and the pain that the net looks like it must be inflicting on the woman's body.

The colour red is used in the photographs as a 'symbolic reminder of the unescapable presence of the Soviet Regime' in Ukraine at this time. Ukraine was developing well into the 1960s, improving its economy and industry in an attempt to rival the West. However this did not go unnoticed by the Soviet Union, whose main leaders in Moscow became concerned with Ukraine's ideas of 'localism', preferring local interests over all-union interests (Orest, 2000). The idea of Ukraine being economically self-assertive did not appeal to the Union, and so it set about making sure that the country knew where it stood towards the end of the 1960s, and so the cities of Ukraine experienced hard times once more. The Soviet regime was never far from the people of Ukraine's minds and this is portrayed in the collection of photographs by Mikhailov.

The installation brings forward ideas of colour significance and associations which are clearly an underlying concept in this piece of art and contribute to the dramatic effect that the collection has visually on the viewer. Even today, red is significant in Ukraine as it still has connections to Soviet times and the use of the colour is being heavily restricted by the government. It also conveys ideas of violence, passion and strength which are all very relevant themes within the subject of the photographs. It is amazing to realise the effects that simply the symbolism of a colour can have on an entire nation and colour symbolism is something that could be considered and explored much further. 

'Why do you all dress so badly?" - Vivienne Westwood

An article appeared in the Metro about a recent statement from fashion designer and icon Vivienne Westwood, in which she claimed that people are more badly dressed than ever before. She claims that we are becoming more and more conformist, and no longer think about our own individuality but follow crowds and trends even though we believe that this is making us stand out, when it is achieving the opposite and making us blend in. Westwood also states that we are all consuming too much and that this is adding to the problem, claiming that we are all spending money on multiple pieces that thousands of other people own, instead of really thinking about what we are buying and enjoying the uniqueness of one off or limited edition pieces, as people did in previous eras.

This continues on from previous points about excessive consumption in the fashion industry today but adds a further perspective that these shopping habits are taking away our individuality and making us like 'clones', as Westwood states. One only has to consider trends such as the 2007 craze of the “I am not a plastic bag” tote, which became incredibly famous not for its ethical intents, but for its popularity with celebrities which made thousands of people flock to shops to buy them, simply because they were the newest trend, one could argue. The bag was not particularly attractive, nor was it a masterpiece of design, it was simply the newest fashion phenomenon for fashionistas by the millions to latch onto. In this case, value retailers are not necessarily the issue, we are talking more about the many people who believe that buying from Topshop in particular, makes us automatically fashionable simply because it is from Topshop, yet this obsession that has swept the teenage generations is creating yet more celebrity look-alikes and less young people who are truly individual.

Many people could also raise the point that perhaps there is becoming a stereotypical 'vintage' style that is becoming increasingly popular and commercialised. However, it is easy to question the credibility of these statements with the fact that a huge majority of vintage garments are rare and unique and one is not likely to see an identical garment walking down the same street. Furthermore, many vintage retailers are now becoming interested in customisation, something that was exemplified on a recent visit to Brick Lane. Vintage sellers are taking garments and customising them, sometimes on request, creating truly unique and individual garments. This is something that should definitely be happening more in the fashion industry, encouraged by brands such as Junky Styling. This sort of philosophy not only is beneficial to the fashion industry in terms of diversity but is also less damaging to the environment and helps to reduce the conformist culture that Westwood warns is so damaging.