The Museum of St Albans was opened in 1898 and is a building with some beautiful Victorian features. The Museum charts the history of the town from the Mediaeval period onwards, as well as hosting temporary displays on a variety of subjects. In the past these exhibitions have ranged from Ancient Egyptians to Stanley Kubrick and now include the Gothic Subculture.

I attended the opening night last Thursday and was pleased to see a number of familiar names and faces in the exhibit. Goth is a topic that tends to get quite a bit of limelight in the mainstream these days – but so little of it tends to draw from and relate to actual Goths. So this was a nice deviation. The exhibition gave insight both into the finery and external side of goth – to the more personal thoughts with video interviews and poetry as well as information about S.O.P.H.I.E.

On loan was one of my favourite outfits which I thought typified the beauty of the traditional Goth: a Sinister top, skirt and veil with an Alchemy Gothic necklace – all of which I got from The Gothic Shop which tends to make up a lot of my wardrobe!

I caught up with Adam to find out a little more about the exhibition:

What was your reason behind the Goth exhibition? How did you hear about World Goth Day?
I’ve known about World Goth Day for some time, having spent many nights at Spiders Nightclub in Hull. The event inspired us to put on some events so we put out a call for ideas and contributions, we had an amazing response, so much so that a couple of events would not be enough. We made the decision to do video interviews exploring people’s experiences and to have a display demonstrating the creativity of the Goth Community, through art and fashion.The thing I really hoped we’d achieve is that visitors to the museum who might not know very much about Goth scene, or may have preconceptions about Goths will be able to learn something and walk out of the museum with a positive idea about ‘Goths’

You did a punk exhibition too, how did that come about?
This exhibition was on show in 2011 and the team behind it had been inspired by the Sex Pistols gig at the Hertfordshire College of Art and Design in 1975. The show was called ‘Satellite’ inspired by the Sex Pistols song, on which John Lydon had the following to say : “It’s the story of the travelling nonsense, around the satellite towns of London … all those godforsaken new towns: Milton Keynes, St Albans.”

What have been people’s reactions to the exhibition so far?
Really positive so far, several visitors have identified the fact that they did not previously realise the discrimination that Goths have suffered, e.g. Sophie Lancaster. They have also commented on how wonderful the clothing we have on display is, especially the your dress which one visitor said reminded him of “a really cool version of Queen Victoria’s mourning outfits”

What have you learnt about Goth though curating this exhibition?
I have personally learned a great deal, especially about how varied the Goth Community is, how it is inclusive of lots of different types of people, ideas and tastes. For example, some of our contributors are very much part of the 1980s scene and are lead by the music, while others have been inspired by Victorian Gothic Literature. The overriding theme though has been one of creativity and friendliness.

The Exhibition runs until the end of May with a number of evens throughout the months, from a screening of Tim Burton’s Frakenweenie to suitably themed talks.

What inspired you to run events and how did you go about your first few?
I was always fascinated by costume movies, especially the ball-scenes. As a romantic teenager I dreamt of participating in such a ball. Years later, I graduated in Photography and translated these romantic dreams to photographs. Yet I wanted to go one step further and transform those photographs into real life and make them accessible for other people as well. I invited all my friends to attend my first real photo vernissage, but it would be more than just a vernissage, they were invited to wear evening wear or period costumes and would be immersed into a true romantic ball. As a location for this event I chose a small Neo-gothic church. The evening was a grand success as every guest was allowed to invite two other friends and as entry fee they were asked to bring a bottle of Champaign! This resulted in a decadent and very memorable first edition of Gala Nocturna.

Six Years later we can look back on many beautiful historical-inspired events and balls and Gala Nocturna has become one of the most exclusive romantic balls of its time! People watch closely what we will do next. Among our events we have a noble blood vampire ball, one of the biggest Halloween events in Belgium and a romantic summer ball. All our events are held in historical buildings such as rococo and renaissance castles, baroque churches and gothic chapels.

How do you go about deciding on themes?
We always try to encourage our guests to explore something new. As we set a strict dress-code for our balls, our guests need to search and learn more about the theme. We’ve had obvious themes in the past, such as “masquerade”, “Virgin Queen” etc, but with “Russian Fairytale” we wanted to create something very different. We want to give our guests the opportunity to expand their borders of creativity. To help our guests, we always create a mood-board to show the look and feel of a certain style. The theme “Russian Fairytale” came from our own interest in the Russian folktales and legends. Next to that, we find the Russian style of folk costumes very interesting and elaborate. And I think our guests responded to that theme very well, we saw some really impressive costumes!

What sorts of themes would you never go for?
I think we would always choose a theme that has something to do with historical costumes or folk costumes. Or at least a theme that asks a good proportion of creativity from our guests. It should always be a challenge to make or assemble your costume. And in the end the costume and look for the ball should be one to be proud of. You don’t get the chance to dress up so extensively every day, so our guests should go for it all the way!

Describe the type of people who come to your balls.
The audience of our events come from all over Europe and abroad, we have young and older people, there’s no specific age for our balls. But they all have one thing in common, and that’s their passion for costumes.

Why do you think there is a demand for these sorts of events in today’s lifestyle?
People are forced to live a very high speed, money-dominated life. In our world they find a door to escape for a while and to linger in another dimension where they can enjoy being the person they wish they’d be, this can be a princess, a mysterious lord or an old goddess… We create a dreamy atmosphere where fantasy is allowed and where people are invited to join in a dance with beauty and emotion.

How many hours preparation would you say goes into an event?
It’s impossible to translate those preparations in hours. We spend months preparing our events. It goes from evenings of brainstorming to finding the right artists and people involved for the technical plan to the very intensive work of building up light and sound settings etc. It goes from creating this special atmosphere, first in our heads, then on paper and finally in reality! To conclude: it’s really a lot of work!

Myself and my husband at the last Gala Nocturna

What has been your favourite moment from an event so far?
It’s actually every time the same moment, and that’s the moment when all the preparations are done, the doors of the ball are open, the guests have just arrived and enter the ballroom, and you can see on their faces that they are in awe. Everything comes together: the great costumes, the beautiful music, the intriguing light projections on the walls, the little twinkle lights flowing through the air. It’s magic! It’s the moment when we say: yeah! That’s why we do it!

If you could hold a ball anywhere in the world, where would that be?
I’m very happy to have our balls in my own country of Belgium. We have such beautiful and undiscovered buildings that are perfect for our balls. Naturally I dream of well-known castles and palazzo’s to hold our balls, but I’m absolutely happy with our current locations.

And lastly, what would you ask of someone who is thinking about attending one of your balls?
We only ask them to be dressed creatively and in the style of the theme.

Viona and her husband and co-organiser Dirk

Read more about Danse Macabre

www.viona-art.com
www.daila-laika.com

All flyer photos by Viona, last two by Antwerp Gazette
Published in Devolution

We then wondered over to the Hand and Flower to help celebrate the birth of these Alchemic delights. We were treated to performances by the Medieval Baebes and Gwendoline Lamour as well as lovely sepia visuals crawling the walls while Natasha Scharf operated the music decks.

Being an avid fan of Alchemy, it was wonderful to get a chance to speak to the employees, retailers and business partners of the company and with each conversation my sense of the wonderful “family” type network the company seemed to imbue grew. Indeed the employees themselves were glowing with reviews and anecdotes of their hours spent at the grindstone – so much so it didn’t seem like work at all. That’s quite a rare feat for any company. I also learnt more about their licencing side and am reliably informed by one of their licensees that a new range of bedding, including double duvet covers for the sharing experience ;), embezzled with Alchemy artwork, is on the horizon.

A selection of my collection

I was also fascinated to hear about their manufacture process. Everything is made on-site in their studio in Leicester and often originates from their art. They have a small team of artists, which include their founder Geoff Kayson (read my interview with Geoff) who create the spectacular artworks well known in their printed goods, and from these elements are taken to create the jewellery. Recognise their Absinthe Fairy for example? I think that’s why the pieces are so detailed, fluid and tell such a story – because they once were part of one. Below is an extract giving away some of the secrets of their very own alchemy.

Click for full view

Thirty five years, is quite a feat to celebrate – to think that this British born and bred company is older than even I am, and still after all these years remains true to its origins and serves the alternative world with gusto. It’s became a beacon of all that is goth and ghoulishly good in the scene. With a quality and an ethos that sets itself apart from many of the “made in china” fare that floods our shelves these days and yet still has managed to grow and succeed. I think in this day and age where we are so removed from the source of all we wear, eat and consume it’s important to understand at least a little of all these things which we take to us to make up ourselves. And from all I have come to know and understand about the company I can truly confirm that you can be confident in the fact that when you buy Alchemy, you take home a little piece of their family and become part of the legend which will be told for many more years to come.

My aim was always simply to create beautiful images, see the fairy tales in my head become realised. I have invested a lot of time and effort and money into this, but it has given me so much back in return. I would never discourage anyone to pursue it, but I would ask them to seriously consider what it was they were willing to do for it and thereby expecting to get from it.

First off I would suggest examining your motives. What is the reason you want to become an alternative model? Anything borne out of the desire to be famous or self-esteem issues is not the best footing to start on. While these can be by-products of the art you are just as likely to achieve infamy and have various knocks to your self-worth along the way. For every lovely comment someone makes, there’s another scrutinising your every flaw. Putting yourself in the public domain, rightly or wrongly, makes people feel they have a level of ownership over you and be open to their critique. Not just on your art-form, but your whole being. As more eyes are on you, expect your behaviour, your words, your choices to be up for discussion. Fame is given by people, so if that’s what you seek, be prepared to become a slave to them. You’ll be judged by the fantasy your pictures create and be expected to live up to them – as people are often not able to tell the fact from the fiction.

On the flip side it can be quite an exhilarating experience to have hundreds of compliments flow in on a daily basis. It’s an addiction I’m sure – and one that the internet can feed to gargantuan proportions. It’s important to keep perspective here though. Just as you will need to brush off the negative comments, you cannot buy into all the hype. The ego is a destructive force which will put you on a rollercoaster even the hardiest of creatures will feel queasy at.

Secondly, you need to be realistic. Modelling is not as glamorous as it may appear and most certainly isn’t in the beginning phases. You’ll be surprised what goes on outside the frame of the finished image you see. Long hours, inhospitable locations, unconformable posting and attire. I somewhat dislike the actual process of modelling. It’s a necessary evil to create the images which I so adore. Luckily the lovely people that I work with end up making the process far more enjoyable.

And that leads me on to my next topic: you cannot be a model on your own. At the very least you need a photographer. Stylists, designers, make-up artists, assistants – there can be a number of people you’ll need to interact with during your image creation. It’s important to be an easy person to work with and maintain a good rapport. After all, these people are the ones that will help make your dream come true and the alt scene is a small incestuous one: negative vibes travel the fastest. Building up these relationships by networking is a necessity. But remember reciprocity. Just as you need them, they too need you, and between you the magic is created. Crediting and promoting those who have helped you along the way is essential.

The market is also flooded. It’s wonderful that the art has become so accessible, but also means to be noticed you’ll have to up your game or, to use a marketing term, find your unique selling point. There is very little money in the alternative modelling world, so if you are expecting to make any at all, be prepared to work very hard. Those that tend to become the most successful usually have other talents that complement their modelling, such as performance or artistry. Fetish, Nude and Burlesque also seem to be more financially lucrative, so you have to consider if these are styles you are happy with. I also cannot lie and have to state the obvious – that in an industry where the visual is the product, and in a world that (barring surgery) we have little control over our genetic make-up, what you look like does matter. Luckily in the alternative world, creativity can override any perceived flaws and the very narrow definition of beauty is slightly widened. Although sad to say, if you do fit into that narrow definition or very close therein – you will find it a lot easier. This video is great to watch, and although it focuses on mainstream modelling, the points within do apply.

I’d say some of my key points are:

• Examine your motives. Really consider why you wish to pursue goth modelling and stick firm to your beliefs throughout
• Remain humble, art is a two way process, so appreciate those who appreciate you
• Network and give back to those who help you along the way
• Find other avenues of talent that can complement your modelling
• You need to find your own unique style or take on art/fashion in order to stand out above the crowd
• If you are going to go with the clichés you have to then make sure you do it well!
• Be prepared to take the rough with the smooth
• Don’t expect to make any money, especially in the first few years
• Don’t invest too much of your self-worth into it. Let comments sit on the skin and never the soul. Don’t judge yourself by the output of your contemporaries, there will always be those who are better as well as those who are worse.
• But above all, enjoy it! Otherwise what’s the point?

Some more practical tips on how to get into it:

• Model networking sites such as Model Mayhem or Net Model are great to find photographer and stylists who are also starting out, work with them and help one another learn. TFP/TFCD (trade for print/CD) is usually how things work and as you get better at it you’ll be able to court better photographers
• Obviously the caveat of being careful, getting references and taking a chaperone is not one to be taken lightly
• Group shoots can be a good way to meet fellow models and photographers in a more relaxed setting
• Do lots of research into posing, look at magazines and search through images online. You must be able to visualise what every part of your body is looking like in the camera lens. Do not expect photographers to just direct you
• Try work with people who will show you all the unedited images. This really helps when figuring out which poses work and gives you a more relaistic knowledge of how you look and what post processing is done
• Start putting together ideas for photo-shoots, gather props and practise makeup. The best images tend to be those had a lot of thought put into them, and this is your chance to get really creative!
• If you can afford to, start building up a wardrobe or find a designer starting out who may be able to lend you items in return for photos. Simple things like fabrics can work well for draping and making outfits more interesting and don’t cost too much
• Communicate fully with the people you are planning to shoot with beforehand. Be aware what you all want out of it and what is expected of you. Remember also that by law the photographer owns all the rights to the images, so if you want some say in what happens to them – you need to make this clear from the outset. Read my article about copyright here.
• Take care of your health and fitness and general wellbeaing. Always get enough rest before a shoot and always turn up on time and as expected
• Always credit everyone involved and check with them before using the pictures anywhere other than your own profiles
• Never cancel a photo-shoot unless totally unavoidable and if necessary do so in good time with a clear explanation as to why
• Make full use of social media to share your endeavours, invest time in your profiles and don’t just spam people with 100 unedited images from a single shoot. There’s a lot of guides out there on how best to promote using social media, make sure you read a few.

Photo Credits:
Taya Uddin for S-moon-S
Viona Art
Iroltha Photography

Q: You are both wigmarker and designer and indeed an artist on canvass too. How do you find all these skills work together and play off each other?
A: I am an artist first and foremost. I design (and usually make myself) material things ( ie: wigs, gowns etc..) to help my vision exist in the third dimension…Thus giving it a tangible living quality. I have my own reality that I need to live in.

Q: You also have an interest in dolls, what is it about them that fascinates you?
A: Dolls are another expression of the human form, which best suits (some of) my creative expressions.
I am enamored with the grace and elegance of the human form, as well as the interesting aspects
of the human condition (sentience, emotions, reactions, addictions, etc..)

Q: Which creative pursuit came first and which holds your deepest love?
A: I started drawing as a child, and have continued to do so. Only now I make the drawings come to life…. I am HIGHLY influenced by music. I LOVE doing shows (fashion or vignettes). There is theatricality in the moving image I adore but it is all so fleeting. And it is very consuming and expensive to undertake..
I would love to do a fine art exhibit with models in gowns, paintings and music that marries all the appropriate aesthetics.

Q: Your style lies decidedly in late Baroque/Rococo periods, what is it about that period in history that particularly appeals to you?
A: I admire the baroque period because of its “grand theater of life” aspect. Religious iconography was given such florid, impressive treatment… I like the idea of everything I do taking on this quality….

Q: If you could dress any character from that period (bar the obvious Marie Antoinette) who would it be, why and how would you choose to adorn them?
A: I would choose the Chevalier D’Eon. I would dress him/her like the glorious dandy/drag queen/fabulous fashionista that (s)he should have been (and using Rose Bertin, the Rococo dressmaker to the stars to sew everything.)

Q: The Rococo period was all about opulence and decadence. What’s the most decadent thing you’ve ever done?
A: I have a very impressively impulsive artistic nature, so I can be rather decadent… Lately, it was being soooooooo inspired (by a particular dress actually) at the Alexander McQueen exhibit at the met I bought 100 or so yards of antique cream organdy to build a gown.

Q: Are there any other influences which you would say also creep into your work?
A: Punk rock-anti establishment themes… I HATE being pigeon-holed, put in a box, about anything…
a little Dickensian fiction, a sprinkle Gothic Lolita, Anarchy in the UK, a touch of Victorian malaise, DIY Death Rock, Elvis Presley pomp and circumstance, and you have ME and my work…. ;)

Q: How do you construct your wigs, from scratch or do you restyle ready-made wigs?
A: I “style” and “build” off of wig blanks.

Q: What are your favourite materials to work with and why?
A: I love oil painting and pastels for drawing… for fabrics: love VELVET especially French velvet, and French lace. A good brocade I have never turned down…. Quality materials are an absolute MUST.

Q: How would you describe your own personal style, the clothing you can most often be found in.
A: My personal style can’t be categories. I recently shaved the sides of my head.. ala old school death rock style. I mix a lot of vintage with new designer things… I liken myself to Vivienne Westward: eccentric, eclectic, with a whole different category of style…

Q: What is your opinion of the fashion of today?
A: Fashion today… this is the million dollar question… I am quite burned out with it presently. After spending over a decade in the NYC fashion arena, I can say it is REALLY about money money money and a side order of celebrity. There are those of us, who are real artists, with unique and (often very skilled) interesting viewpoints… but lack the social circle or celebrity to keep the funding going… It is VERY VERY difficult. SAFE is a very prominent word in the NY garment center. In America in general actually. If a TRUE artist like Christian Lacroix can lose his fashion line… and obviously McQueen was sooo depressed and felt alone…., and Galliano was most probably framed… It is true we are in some very very dark times. ( I consider these three the best of the best designers of late.) It is a playground of the rich that looks to the underground for authentic inspiration. It is a love/hate relationship I have, with fashion obviously.

I have a very intense love affair with fashion editorial. I am not interested in “day to day” reality or the clothes you need to wear in it. I want the grand gestures..and I want to bring them into “real life”. Whatever “real life” means.
In particular what is your opinion of male fashion in general and how it contrasts to historical fashion.
Male fashion exists almost exclusively on the runways (except for the gay population, which are always a step, or a few, ahead!!). I am a huge proponent of equal aesthetic value given between males and females. ALL people look better with makeup, for example….

Q: Why do you think the alternative underground scenes such as Goth have embraced period fashion in the way that it has?
A: I don’t think Goth is ‘underground’ anymore… that being said… in Europe, it is a drawing to a more polite aristocratic, chivalric system. It makes visual and aesthetic sense, the black Rococo gowns, mourning a bygone romantic era…. here in the US, we aren’t so sympathetically romantic, and SERIOUSLY unfortunate cross-cultures happen. I never understood the rave- trend with the vampire fangs, for example… they are called ‘fangbangers’ here… although you don’t see it too much anymore.
those big wide leg pants, with tons of straps, glow in the dark anything…usually a plethora of piercings, and hair extensions ( which also probably glow in the dark) AND fangs… Yikes.

Q: Describe the ideal setting for your clothes to be worn, it can be any occasion and place in the world.
A: At London Fashion Week to a Vivienne Westwood show. At a John Paul Gaultier couture show in Paris, at the annual Met Costume Gala, or a Saatchi and Saatchi art opening in London… all attracting a lot of press coverage!!!

Q: If you could outlaw one piece of clothing what would it be and why?
A: Spandex added to textiles. This equates to the adage “if it stretches to fit, it must be a correct fit!”
Most of the world has become an eyesore in too-tight clothing!!

Q: What does the future hold for you?
A: I am dying to work with Pete Burns!…I think him and I would be a very interesting team.! I admire his spirit so much and to stage a fabulous shoot with him.. I have the perfect idea of what I would make for him…! Making about 4 -6 couture dresses a year, staging elaborate photo sets for them, and then painting a series of works relating to them in a full narrative spectrum. A side of doll work ( if time allows).A pair of French bulldogs. Several tattoos

www.kathleenmarie.net


Published in Devolution Magazine

But the question I ask, has this cheapened perceived value of output? Has it stopped it being a piece of art and simply a consumable that people feel justified in taking for their own use? The music industry has had a number of high profile cases in this regard, but on a more grass roots and rather more personal level I am quite tired of “the internet” believing they have the right to reproduce, publish, use and sometimes even transform images created by photographers, models and designers with no prior consent or citation. I know this is an issue which will affect many reading this article and is something I’ve been doing a fair bit of reading up on, so thought I’d share my findings.

What is “copyright”?

It is a right given to the creator of an artistic work to control the way in which their material may be used. The creator also has the right to be identified as the author and to object to any distortions of their work. Copyright relates only to the actual photograph rather than the idea behind the photograph. Copyright infringement relates to reproduction of all or part of the work and begins at creation and ends 70 years after the death of the creator.

The photographer owns the copyright

The person who takes the photograph owns the copyright and this copyright is implicit, meaning all images are still copyrighted even if it’s not explicitly stated or marked as such. The subject of the photograph does not obtain any copyright unless awarded by the photographer.

Written consent should be obtained for publication

While there is no real consent needed to take a photo of an individual (except in extenuating circumstances and these will be decided by the court), a model release should be obtained if the picture is to be published anywhere and the publisher should hold a copy. While it is not a law as such in the UK (however it is in the USA) the subject of the photograph could still sue under laws relating to privacy and defamation of character if they have been represented in a manner they disagree with.

Copyright violation still exists even if there is no financial gain

This is a common misconception and will only affect the amount of damages that can be claimed. If the person using your images is not doing so for financial gain, they are still breaking copyright laws. A cease and desist order can be issued in such cases and can end up in court if the order is ignored.

Publishing your work in the public domain does not waive the copyright

Unless the photographer specifically states that they place the images in the public domain for free use by means of a licence, their work should only be viewed only in the location and manner in which it was published. This includes all work published on the internet.

Even if you purchase an image that does not give you the copyright

Ownership of a photograph only gives permission for personal use and enjoyment. In order to reproduce or use the work for anything other than personal use the copyright needs to be given, shared or sold along with the work.

There are some exceptions where copyrighted material can be used called “fair dealing”

Fair dealing is a term used to describe some limited use that is allowed without infringing copyright:

• Research and private study: which is for non-commercial purposes and no copies are made available for a number of other people.
• Instruction or examination: provided the copying is done by a student or instructor and is for non-commercial purposes.
• Criticism or review: work can be used in this way if it can be found in the public domain and the material is accompanied by some actual discussion or assessment.
• News reporting: this does not apply to photographs.
• Incidental inclusion: this would be where the work is unintentionally included. An example could be if someone’s work were in the background of a video broadcast.

With all of the above the amount of work used should be no more than is necessary for the purpose and should always have the source acknowledged. A couple of images could illustrate an article for example but there is no need of a whole gallery.

It is not ok to use images of other people as a representation of yourself

Using someone else’s photograph or avatar on an online profile is not only against copyright laws but also amounts to impersonation. While impersonation is not illegal unless doing so for the purpose of financial gain or trying to get someone wrongfully suspected of a crime, it is morally distasteful and could amount to harassment or public nuisance suits being filed. It is also only a matter of time until this becomes more of a legal issue, with laws already being passed in USA covering this area.

Spare a thought

While all these legal implications are often unknown to those using other people’s work and should definitely be investigated, even without that knowledge; before you right-click and copy if you could just spare a thought. A thought for the time, effort and money the creators of that image put into it. For the people and/or companies it is representing. For the value of it. And then you’ll realise what you are about to do can be seen, at it’s very worst, as stealing and lying.

References:
http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
http://www.sirimo.co.uk/2009/05/14/uk-photographers-rights-v2
http://www.photographywebsite.co.uk/copyright-in-photography-c494.html
http://onlinereputationedge.com/online-impersonation
http://www.photolaw.net/faq.html
http://www.copyrightservice.co.uk/copyright/p27_work_of_others#fair_dealing

Published in Alt Fashion

The business model is quite simple: they stock trader’s wares providing the infrastructure and platform for free and then take the profit from each sale as their fee – paying the traders the cost price. It’s a nice idea and beneficial to all involved. “People come to Camden from all over the world but when they go home they have no way of buying what they may have seen. It is also a well-known shopping destination and for those that can’t travel to it, the web can bring it to you” explains Alice. With the slower winter months coming up they also feel it’ll be an added source of income for the stall holders.
They could be on to a winner here, trading on the infamy of the brand name, but need to make sure they only stock unique items and always keep pricing equivalent to those on stall. However with online, the competition is far fiercer and so time will tell if they’ll stack up for the bargain finding internet surfer.

Another well-known destination which has gone online, for those musically inclined, is Resurrection Records. A staple of the Camden visit for any discerning Alternative is now no longer and trades solely through www.resurrectionmusic.com, which up until recently ran in conjunction with their physical store. Reasons cited for the change were the commute (the owners having moved away from Camden) and simply the economics of it all. A landmark, a meeting place, a passtime to flip through CDs as the speakers inform you of new audio delights and the walls tell of gigs not to be missed. As the Dev before it, it has left a big hole in Camden.

Internet shopping: the mark of an age.

Abbey House and the town it is located in is steeped in history. Once the site of an Iron Age fort, Malmesbury is the oldest borough in England, created around 880 AD by charter from Alfred the Great. The Abbey itself was founded in 675 and was home to the very first church organ in England. By the 12th century the current Abbey was completed and enjoyed the status as the third most important religious centre in England after Canterbury and Winchester. It was then with the arrival of Abbot William of Colerne in 1260 that a building programme was begun and Abbey House was completed as the Abbots new lodging. The foundations of the house itself date back to Roman times which a fact that is supported by the excavation of a coffin from the grounds in 1997. Ian & Barbara bought Abbey House in 1994 to make it their home and in 1996 decided to create the fantastic gardens which are now renowned among the best in Britain. All these facts in themselves made for a wonderful choice of venue, but it was Barbara herself who sealed the deal for us. A creative and quirky person it felt like she opened her home to us and went above and beyond in making our day truly special. After looking at venue after venue of cold conveyor-like weddings with officious event managers, Abbey House was a breath of fresh air. We really couldn’t have chosen a better venue. I urge you all to take a visit of the gardens if you’re in the area.

We never really went for a theme as such and just weaved in things we loved such as our obvious goth tendencies and our appreciation for the finer and more extravagant elements of history. But to say we had a goth wedding may be a bit of a misnomer – depending how you look at it. There were no spiders or bats and a distinct lack of velvet, but our guest book was actually a condolences book and we cut our cake with a sword. The following celebration had a few more goth elements – but more on that later. We decided on a black and gold colour scheme. This reflected the elegant, opulent and period feel we wanted to go with while still giving it the quintessential “wedding” feel. I felt it was important that this wasn’t just another party and although I didn’t want to be restricted with “traditional”, a wedding is a once in a lifetime occasion and it’s nice to bring in elements of tradition and give it the feel of an event unique to your timeline. The centrepieces consisted of cracked glass vases filled with pebbles from Brighton beach and branches which were draped with beads and hanging jewels from South Africa. This tied in with my love of nature and worked beautifully with the room which was full of wood and large glass windows bringing the outside in (it was my dream since being very young that I would get married outdoors in a magical garden and this came very close).

My dress carried through the theme. Already owning a number of wedding dresses in various colours, I wanted to avoid the obvious white, and the usual goth colours of red and purple. I opted for a gold satin embossed with a subtle vine pattern mixed with shimmering chiffon. The diaphanous sleeves, tiered skirt and flower trim echoed the romance and magic of the garden and occasion. My bridemaids (my two sisters) wore dresses akin to my favourite style, a flowing medieval sleeved overdress. I then chose a full cathedral length veil and a spray of sparkling gold flowers. All these were of course artfully created by my mother. My betrothed wore a black coat based on a 1850′s 7th Regiment New York National Guard Officer’s Tunic with gold buttons and embroidery beautifully tailored by Paul Garside. After walking down the aisle to music composed by Tim based on a song he wrote for me when we first started dating, and a recital of “A Thousand Years” by my sister, it even brought a tear to the Registrar’s eye who exclaimed she felt as though she had been transported back in time.

As we chose to have a very intimate midweek ceremony but still wanted to be able to celebrate with all our friends and family, a grand Ball was called for. We chose Old Finsbury Town Hall in London. This Grade II listed building is a grand example of late 19th century Civic Architecture. Evans Vaughan’s design of the Town Hall’s brick and stonework is “free Flemish Renaissance”. There are obvious Baroque influences, but also many internal and external details are heavily influenced by Art Nouveau – quite a radical statement considering when the Town Hall was built. The Hall exudes opulence and glamour and is a building with true character; an art-deco entrance canopy, a sweeping staircase, beautiful stained glass and the Grand Hall adorned with chandeliers and watched over by the famous Islington angels. It is a vintage building that is real, ornate and unique.

It was beneath those beautiful angels that our friends and family danced to the music weaved by the finest DJs the goth scene has on offer (Martin Oldgoth from Recollection, Bat and Dave from Invocation, Ben from Tenebrae, Psyche, and DJX from Tanz Macabre). Adorned in their finest it was the celebration of beauty I had hoped for, with an opening set by The Eden House – such music and attire is made for such an environment. Our first dance was perhaps to a slightly unexpected tune, but one whose words both ring true to us and flood us with reticent memories… “I won’t disappoint you as you fall apart. Some things should be simple, even an end has a start…”

Where my wedding ceremony dress had a more flowing feel, I wanted my Ballgown to be more opulent, while still maintaining the essence of the dress in which I said “I do”. The sleeves were more Baroque in style, beads were added to the trimmings and a satin bustled overskirt completed the look. I also adorned my head and neck with specially made pieces by the fabulous S-moon-S.

This wedding ended up being everything we’d dreamed of – a truly personal celebration of beauty and our lives together: past, present and future. Tim and I designed and crafted all the elements to reflect all we love and brought in the talents of our loved ones who added even more to it than we could have hoped.

Photographer credits: Starkall, Taya Uddin & Simon Topp

It is not difficult therefore, to understand why the alternative scene has embraced this means of decoration. Already very demonstrative in their means of attire, jewellery adds the embellishments and can act as icons of their philosophies for the more spiritual among us. Indeed many of the ancient symbols are often found in our ornamental adornment, from Egyptian ankhs, crosses and pentagrams. However, how much meaning and power is put in these pieces vary from wearer to wearer. As Geoff Kayson, Director and Founder of Alchemy Gothic explains, “Each piece can be as meaningful, (and effective), as the owner wishes, in the same way that a plain crucifix to one person is their symbol of a lifetime devotion, and to another is nothing more than a fashion statement.”

For me, the key piece of jewellery in any outfit is most certainly the necklace. The neck being one of the key erogenous zones and an immediate draw to the eye, festooning the décolletage has been known throughout history. Whether it’s by a collar hiding secret promises, a chocker with its imagined constrictions, or a pendant leading the eye to the breast – it’s a highly sensual and powerful decoration. Sitting atop and between the throat and heart chakras with their associations with communication, creativity, love and life – a deeper meaning can also be drawn for those investing in the symbols of their ornaments and having them so near these energy centres.

Even atop layers of fabric, the textures and surfaces which move independently in a snake-like dance or cling to your body and move with you, add a richness and allure to your form. Whether as part of an elaborate costume or a statement piece against a beautifully simplistic ensemble, the choice of necklace should be carefully thought out.

I have collected together some of my favourite purveyors of décolleté decoration for your perusal and some thoughts on how best to wear them.

Alchemy Gothic
www.alchemygothic.com
A long time favourite of mine, the intricate designs are quintessentially gothic. As they are often quite elaborate so worn on their own or with plain strings of beads really highlight the craftsmanship. If combining pieces try use those with similar themes. Bats, spiders and crosses, when worn together for example, would just make you look like you fell into your jewellery box!

Prong
www.prongjewellery.com
Definitely for the times you feel like bringing out your fiercer side, these collars and stud infested delights suit the more fitted and figure hugging outfits which mimic the structure of the pieces. Pay attention to the material and lustre of your chosen piece and match that in either with the whole outfit or pieces of it, to keep the continuation. Wear them over high necklines for an even more formidable impact.

Artwith Latex / Kat Voodoo
www.artwithlatex.com
katvoodoo.com
These pieces are fantastic, acting like a tattoo and moving with you as a second skin. They really are best worn over exposed flesh, so deepen those necklines and let the heaving breasts make the latex mesmerize!

S-moon-S
www.s-moon-s.com
Having the same tattoo-esque feel to them but with are a more rigid sparkling construction which lends an air of elegance to the wearer. The larger pieces are the perfect accompaniment to a ball gown or elaborate fantasy outfit and should most certainly be worn over bare skin to highlight the design.

Veil of Visions
www.veilofvisions.com
This company specialises in elaborate embroidered items, a large variety of lace chokers and necklaces with swirling designs. They have recently started adding historically inspired ruffs and neckpieces which engulf the neck in sheer flamboyance and is most definitely a statement piece. For these items however, you have to dress extravagantly and carry through the opulence throughout the whole outfit for the pieces to work their best.

Photographer credits
Gothindulgence
Nadya Lev
Simon Pole
Robert Marchosias
Taya Uddin
Starkall

Published in Alt Fashion
 

Lords and Ladies of Misrule, you are hereby invited by The Goblin King to his Annual Masquerade Ball. This evening see’s the World Turn’d Upside Down; Where Fools become Princes for one night. Where Goblins, Nymphs, Ogres, Bad Faeries and other Creatures of the Night, beyond the realm of human vision, are free to make merry, tempt, seduce, carry out acts of foolishness and wantonness. Dearest revellers cast aside your thoughts of the next day and abandon yourselves to the mystical excesses and delirious cacophonies of The Goblin King’s Theatre of Trolls.

On entering we were greeted by the Goblin King a resplendent green atop stilts handing out strange toys to the first guests. Wonderful art installations of eerie figures, stocks and a throne as well as a grand piano serving as a bar. Not being an event organised by the Gothic community I was intrigued to see the sort of people that it would attract. I was immediately astounded by the costumes; the care and detail was exquisite. It pleased me to learn of a scene which took just as much pride and dedication in the fantastical world of adornment as my dear Gothic tribe.

The music wasn’t terrible either, some standard gothic tunes blended in with more popular alternative fare and some fun 80s along with the more offbeat popular stuff. Of course “Magic Dance” by the original Goblin King filled the dancefloor appropriately. Interspersed between the drinking and dancing were various acts MC’d by Joe Black.

Burlesque, spoken word and aerial acrobatics all featured. There were a couple of performance spaces and with no programme you could find yourself in the middle of some manner of moving art without quite realising it which added to the surreal nature of it all. However it also meant that you missed quite a bit too. A Screening of The Troll Hunter along with giveaways brought the night’s theme full circle.

A more immersive form of entertainment was provided by walking performers meandering through the crowd. Some fantastic puppets made by Isabelle Riley were worthy of a Froudian accolade. You almost forgot they had a person attached, with a life and emotion all of their own. Talent to create such entities can only be seen as a divine gift.

Other artisans displaying their work included the steampunk-esque corsetry of Engineers of Desire, the wild wigs from Ghoulia Peculiar and the wonderful caricatures from Geog Banyard (do check out his work at islandofdoctorgeof.co.uk). Being my dream that one day (when I eventually grow up) to be a cartoon – I decided Tim and I should get immortalised in his ink.

I think the overwhelming impression left with me from the night was one of creativity: immersed in a world which these beings have come together and built through makeup, fabric, paint and performance. Held together by belief that there is more to life than the mundane. Everyone I spoke to had a story to tell and a world behind their painted eyes – this is the theatre of life whose boards only those that dare can tread.

Do keep an ear open and an eye out, the Gobilns will return, and if you’re not with us, well let’s just make sure you are… www.goblin-king.co.uk

Photo by Caitlin Mogridge