The Quest for the Most Beautiful Slow-Fashion Sweatshirt


 
Inspired by some of the films I have watched and rewatched lately, like Alien (in anticipation of its 40th anniversary – who’s with me?) and Nine 1/2 Weeks (unfortunately there is still no 2019 good film yet to report on – in fact, in the course of a week, I walked out of two newly released and much acclaimed movies, Claire Denis’ High Life and Under the Silver Lake, but that’s another story) and forced by a back injury, I have been all about the most comfortable look possible I can get away with, regardless of occasion. Enter: the sweatshirt (the weather still doesn’t allow for a t-shirt). The good thing is that, along the years, the sweatshirt, which used to be accompanied by an excuse whenever worn in public, has outgrowned its athletic origins and matured into a piece that, when done right, can strike the perfect balance between style and comfort. We are talking about a style staple.

So I set out for the search of the most beautiful slow-fashion (because I like style that matters) sweatshirts. Here are my top five picks, from five favourite brands, accompanied by the words of their respective founders and designers.
 

The SRF PCF Sweatshirt by Heidi Merrick

 
Heidi Merrick: The SRF LA crewneck sweatshirt

Made in California, produced responsibly and directly under the designer’s eye in the brand’s studio, with a small team of cutters and sewers.

Heidi Merrick’s beautiful dresses are about the only dresses I would wear every day. And I think it’s because they reflect an elevated Californian style: laid back, easy to wear and minimalist, but carrying a note of refined elegance to them. They are made for my favourite kind of California girl, and, as a matter of fact, for my favourite kind of woman, who is both playful and elegant, and, above all, cool. A woman who knows exactly who she is, but who doesn’t take herself too seriously. Naturally, casual wear is an innate part of Heidi Merrick, not only because of the designer’s and her brand’s birth place, but also because Heidi is the daughter of renowned surfboarder and surfboard designer Al Merrick. Cool runs in the family appearantly. Just like a great sweatshirt should run in every wardrobe. And I didn’t think I would ever consider using glamorous to describe the garment with the most unappealing name, but the Heidi Merrick sweatshirts look exactly that: glamorous.
 

The Bullshit Sweatshirt by Monogram

 
Monogram: The Bullshit Sweatshirt

Made in Los Angeles, sold directly to consumers. The knitting, cutting, sewing, dyeing, washing and screen-printing all happen in and around downtown LA, all suppliers being family owned and operated.

CFDA award-winning designers Lisa Mayock and Jeff Halmos created their brand MONOGRAM envisioning the perfect t-shirt, “that vintage t-shirt you’ve had in your closet for years – it’s delicate to the touch after years of wear”. A classic, clean cut that meets an art-based design sensibility. I believe therein lies the beauty of MONOGRAM. You know it is your personality that makes a statement, first and foremost, but it feels nothing short of liberating to have this great and simple wardrobe item that can back it up. The MONOGRAM sweatshirts, with their “witty, colourful, subversive, upbeat and fun” graphic designs, are meant to make the same personal statement.
 

“We design for every woman and hope our graphics inspire
wearers to let their individuality and personality shine through.”

Jeff Halmos in our interview

 
 

The Love Cut-off Sweatshirt by Amo

 
Amo: The Love Cut-off Sweatshirt

Made in Los Angeles, from the finest materials and with an expertise in craftsmanship.

AMO set forth to create the perfect pair of jeans, one that feels you’ve worn it forever, that is comfortable and timeless, and that gets better with every wear. The brand’s debut Spring 2015 collection was composed of 5 styles, each vintage-inspired, but an up-dated vintage that fit well and was flattering in all the right places, that looked cool and undeniably modern, made from the finest quality denim, with an uncompromising approach to craftsmanship. The brand has now extended its range of products to include everything from jeans to t-shirts, jackets and sweatshirts, everything you want to wear with your perfect pair of jeans.
 

“We continually ask ourselves – What do we need?
What are we missing? What can we not live without?”

Kelly Urban and Misty Zollars in our interview

 
 

Marguerite Bartherotte, founder of G.Kero, wearing a G.Kero Sweatshirt, swimsuit by Erès,
and surfboard inspired by her own drawings | photo: Vestiaire Collective

 
G.Kero: The Red Yellow and Blue Sweatshirt

Made of natural materials, crafted in the best family-owned workshops in Portugal.

Whilst searching for a fresh alternative to traditional gallery canvases, artist Marguerite Bartherotte turned her hands to fashion. She makes fashion that lasts (the fact that her brand, G.Kero, carries a permanent collection says a lot in this regard), fashion that makes a statement not only through creativity but also through the message it seems to carry: follow your convictions and instinct, not the trends, be yourself – that woman who likes to wear an original drawing or painting on her shirt instead of a pattern. In this world of mass consumption and impulse buying, G.Kero stands apart through its commitment to true style, mankind and the planet. It reminds us that we need to educate ourselves and redefine our concepts of need and desire. That we’d rather spend our time tending to happiness than chasing and replacing fast fashion.
 


“G.Kero is an artistical reaction to the environment.”

Marguerite Bartherotte in our interview

 
 

The Jämtland Sweatshirt by A New Sweden

 
A New Sweden: The Jämtland Sweater

Made in Sweden from natural Swedish materials, produced in collaboration with small, trustworthy sheep farms; a business model sustained by their own farm-to-factory supply chain. Plastic- and chemical-free.

A New Sweden does not believe in, nor seek for infinite growth. They are uncompromisingly challenging the standards of sustainable fashion itself. They will release a single item each year. The first edition is the sweatshirt (the Jämtland sweatshirt) – a very classic and elegant version of it. They have based this first edition around making use of wool that would otherwise be wasted, thus preventing waste of precious natural resources. Their creative and innovative efforts are aimed to working with nature, not against it. They are aimed to celebrating slow living and timeless style and to making clothes for longevity, both from an aesthetic and quality perspective. They are aimed to draw upon the unique beauty of the world around us without destroying it in the process.
 

“I asked myself how to make a garment
that I believed was actually made in a good way.”

Lisa Bergstrand, founder of A New Sweden, in our interview

 

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A Life in Movies: Stories from 50 Years in Hollywood

Martin Scorsese and Robert De Niro on the set of “Raging Bull”, 1980 | Chartoff-Winkler Productions

 
Robert De Niro warming up in slow motion on the sound of Cavalleria Rusticana in Raging Bull remains one of the best opening sequences in cinema. A scene that foreshadows the entire film. And it almost did not happen. Martin Scorsese was initially reluctant about using the opera music that one of the assistants had cut into the opening credits by mistake, considering it too romantic. But he finally kept it and the rest is movie making history. Raging Bull is one of the greatest cinematic works of all time.

Every film has a story, even those that don’t get made, says film producer Irwin Winkler in his book, A Life in Movies: Stories from 50 Years in Hollywood, released today worldwide. And he has many stories to tell. He takes us backstage to some memorable films (he is a long-time collaborator of both Martin Scorsese and Robert De Niro) and walks us through five decades of making good movies in Hollywood: Point Blank, Goodfellas, Rocky, They Shoot Horses, Don’t They?, True Confessions, The Wolf of Wall Street, Silence.
 
 

“One of the best parts of making movies is the development:
taking an idea, studying it, researching it, and finding
the characters and incidents that make a movie.”

 
 
 

”A Life in Movies: Stories from 50 Years in Hollywood” by Irwin Winkler | photo: Classiq Journal

 
 
Irwin Winkler started producing films in the late 1960s, a time of significant change in Hollywood filmmaking, when a new, counter-culture breed of directors, through both subject matter and stylistic approach, breathed new life into the American cinema. The great directors of the golden era of Hollywood were just about gone and the New Hollywood was born. It was the time of Martin Scorsese’s Taxi Driver, Peter Bogdanovich’s The Last Picture Show, William Friedkin’s The French Connection, Arthur Penn’s Bonnie and Clyde, Terrence Malick’s Badlands, Francis Ford Coppola’s The Conversation, Roman Polanski’s Chinatown, Alan Pakula’s All the President’s Men, Sydney Lumet’s Network.
 
 

”Bob (Chartoff) and I were known in the ‘new’ Hollywood
as producers who worked hard, knew good material,
and could get pictures made.”

 
 
A Life in Movies paints an intimate, straightforward, complex portrait of what it is like to be a producer in Hollywood and of how movies get made. But Winkler is not just another producer. He is the kind of producer who has always fought for an idea, for a screenplay, for artistic freedom. The kind of producer who thinks on his feet, but encourages and believes in visionary talent. He has a natural instinct in finding fresh, current, good subjects and turning them into good films, but he would forgo commercial success for a character-driven film, not shying away from making films against the Hollywood blockbuster, big-budget mentality. The films he has directed himself are often politically- and socially-charged, taking on controversial and challenging stories – his directorial debut, Guilty by Suspicion (1989), with Robert De Niro in the leading role, is a stirring evocation of Hollywood’s condemnable blacklisting era, De-Lovely (2004), starring Kevin Kline, is one of his most distinctive works, a musical biography of legendary composer Cole Porter, and Home of the Brave (2006), with Samuel L. Jackson, is about the return of US soldiers from the war in Iraq.
 

Kevin Kline in “De-Lovely”, 2004, directed by Irwin Winkler | Winkler Films, MGM

 
 
Irwin Winkler is a producer, writer and director, but he is a storyteller above all. And it his passion for storytelling that comes through in this book. As a storyteller, he has been equally fascinated by producing and making films that are a product of their time, of the social context, and artistically courageous films. I think it’s a combination of the two that keeps any cinephile’s interest in cinema alive.
 
 

“I believe that Silence will stand alongside some of the best
Ingmar Bergman, Fellini, and Pasolini films. I’m so glad we hung in,
faced down all the naysayers, and made it, no matter what.
That’s what filmmaking should be about.”

 
 

A Life in Movies: Stories from 50 Years in Hollywood, published by Abrams,
is out today, 7 May

 

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The Individualistic Minimalism of the 1980s: Kim Basinger in Nine 1/2 Weeks

More grunge than power dressing. The best of 1980s style in the streets of 1980s New York City.

Kim Basinger and Mickey Rourke in “Nine 1/2 Weeks”, 1986 | MGM

 
Before the minimalism of the 2010s, there was the minimalism of the 1980s. The difference lies in the individualistic power of the 1980s, and in the individual identity. Today, everybody seems to “dress alike, look alike, talk alike and behave alike”, fashion photographer Michael Doster said in his book, Doster: 80s/90s. Back then, everybody sought out to be different, to freely express themselves even when following the same trend. I choose the 1980s. In this regard, let’s have a look at Kim Basinger in Nine 1/2 Weeks (1986).
 

Images above: Kim Basinger and Mickey Rourke in “Nine 1/2 Weeks”, 1986 | MGM

 
Neutral colours, minimal silhouettes. Comfortable, natural, fuss-free, modern. Unstructured trench coat, chunky sweaters, slouchy white shirts. Grey sweatshirts, white t-shirts, oversized coats. It was the 1980s, a time when American fashion was finally starting to be acknowledged and appreciated for its practicality, accessibility, inclusion, minimalism and consistency – fashion had to appear available to all, regardless of anyone’s social and economical background. Kim Basinger’s clothes could be a combination of Calvin Klein, Donna Karan and Ralph Lauren. Bobbie Read was the costume designer. She was also responsible for Kelly McGillis’ wardrobe in Top Gun, another fashion statement film of 1986. These two films are such a great rendition of the best of 1980s style, and, most importantly, of classic style, that I am surprised that Bobbie Read is so underrated when it comes to fashion in film.
 

Images above: Kim Basinger and Mickey Rourke in “Nine 1/2 Weeks”, 1986 | MGM

 
Kim Basinger in Nine 1/2 Weeks is the epitome of the best of 1980s fashion in New York City. And New York City is a character in itself in the film – the art scene references (Basinger’s character, Elizabeth, works at an art gallery on Spring Street), the Chelsea Market, the Chelsea Hotel – in a time when it was bustling with creativity and energy. And I love that it shows the real NYC, different from the New York of Woody Allen and Nora Ephron. Both derelict and dazzling. Both dangerous and dreamy.

It doesn’t hurt either that Kim Basinger has a male counterpart to match, Mickey Rourke in elegant suits and timeless casual attire. But fashion in the 1980s was just as much about the clothes as it was about the attitude. That appeal, that spark, that sensuality, that liberating feeling, that real and fearless self expression. That’s what’s so desperately missing today. From fashion, from the individual. And there is something else I appreciate about Elizabeth’s style – for example, the missing shoulder pads from her trench, the single most distinctive element of the 1980s power dressing – which is rather a nod to rebellion foreshadowing the beginning of the 1990s grunge than chanelling the working girl fashion or the logo-heavy status dressing of the decade. Elizabeth’s style is more flea market than high fashion, a mix of hand-me-downs and cast-offs: the boyfriend blazers, the bulky sweaters with rolled-up sleeves, the plain t-shirts, the ankle-length skirts. It seems built around the idea of a man’s wardrobe, tops and bottoms rather than outfits. There is nothing spectacular about her clothes (as it never is with ageless style, as it never is with man’s style). But she wears the clothes and she wears them well. It’s her attitude that makes them stand out. As it should be.
 

Images above: Kim Basinger in “Nine 1/2 Weeks”, 1986 | MGM

 
 
Related content: The best of 1980s style in movies: Kelly McGillis in Top Gun / Richard Gere in American Gigolo / Lauren Hutton in American Gigolo
 

 

Posted by classiq in Style in film | | 1 Comment

A Sporting Life: Eddy Merckx


 
As with films, the sportsmen of past decades hold a special interest for me, more so than contemporary ones. Eddy Merckx is one of them. I wasn’t around during his career. I am from the generation that witnessed with unprecedented fervour the rivalry between Lance Armstrong and Jan Ullrich, until the doping scandals in cycling changed that sport and sport in general for ever and wiped out any trace of trust I had in professional sport for years to come. It rapidly turned into another impulse to look into earlier times, when sport was different, when cycling was different. Simpler, more fascinating, more liberating, cleaner. When talent, passion and hard work seemed to be most accountable for a cyclist’s accomplishments. Before the newest bikes, technology and medical research started to significantly influence the overall hierarchy.

I read the book Eddy Merckx: The Cannibal, by Daniel Friebe, inspired by my interview with Eliza Southwood. I was happy to discover not only the story of the career of arguably the best cyclist of all time, but also a valuable recount of an extraordinary era in cycling, the 1960s and 1970s. It gave me the feel of those times, of the bike races, of the sport.

Eddy Merckx is one of the heroes of one of the most beautiful sports. He was the rouleur, good on any surface, in any competition. He conquered everything in cycling. Because that’s what he knew how to do. Because he could. He won the Tour de France five times. He also won Giro d’Italia five times – by many, fans and riders alike, it is this one that is considered the most beautiful and difficult grand tour. He muscled all sense of competition out of each race he entered. He was described by his competitors as a force of nature. Everything was instinct. He gave everything when he was on the bike. He didn’t just win against his opponents, he won against himself. “I am truly happy only when I’m on the bike”, he said in 1970. A simple sport for a complicated mind, that’s how Merckx viewed cycling. It was more than talent, it was a vocation. Eddy Merckx had a relentless drive, a pure, liberating passion for cycling, just like an amateur – in love with the sport, not because of the money or fame. A childlike enthusiasm. For him, cycling meant meritocracy and a raison d’être. A valuable life lesson for everyone, regardless of one’s profession.
 

Eddy Merckx en route to winning his fourth Tour de France in 1972

 

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Interview with Illustrator Eliza Southwood

L’Eroica | Eliza Southwood

 
First, I came across a notebook. It was not just another notebook. It was an illustrated road bike journal. I just kept leafing through it, enthusing over each new illustration… The iconic Col du Galibier, the mythical Alpe d’Huez, the Tuscan white gravel roads of L’Eroica, the unforgiving Mont Ventoux, or Lagos de Covadonga, the stage queen of Vuelta de España, and other demanding or fun challenges. Why is there no tennis illustrated notebook?, was my next thought. But cycling is a sport I also admire. And I can never resist a beautiful notebook. So I bought two, one for myself, and one to keep just because I am sure that it will make a great gift to someone else at some point, maybe my father, a sports enthusiast. Then I immersed myself into the work of the artist who had captured on paper the spirit and art of cycling with such ease and elegance and fell in love with her entire portfolio.

Eliza Southwood was trained and had been practicing as an architect for ten years when, in 2010, decided to change gears and take up a career as an artist and full-time illustrator, although she has consistently drawn and painted throughout her life. Her London Is the Place for Me illustration has recently won London’s Transport Museum’s annual prize for illustration. Cycling however remains one of Eliza’s favourite themes, and I have to admit that it was the retro, classic bike ride feel her illustrations evoke (hinting at a time when the sport was somehow more stylish, more fascinating, and, well, yes, “cleaner”) that simply rekindled my interest in this beautiful sport, not just in the actual riding the bike, but also in the history of cycling. I ended up buying the book Eddy Merckx: The Cannibal, by Daniel Friebe, on the spot when I saw it in a bookshop a few days later, without even reading what was written on its back jacket, added a few other books of reference about cycling to my list, and I have started reminiscing with my brother about years old Tours de France.

I had to reach out to Eliza herself to go more in depth about her inspiring work. In our interview, we have talked about her earliest drawing memory, about the craft of illustration and Miguel Indurain, about biking in London, the Tweed Run and style.
 
 

”Observation is really important.
Sometimes I pretend in my head that I’m drawing something
just so I can look at it properly. So much of what we see on a
daily basis is scanned over without properly stopping to see.”

 
 

Amstel Gold silk screen print | Eliza Southwood

 

What is your earliest drawing memory?
Painting butterflies on a kids’ easel when I was 4. It went ”wrong” and in a rage I covered the whole thing with black paint.

Were you allowed the freedom to draw whatever you liked in your childhood?
Of course – my parents were hippies who were quite happy for me to draw whatever I liked.

What inspired you to become an illustrator?
Apart from a natural predilection for drawing, seeing the work of artists such as Toulouse Lautrec, Miró, Picasso and Degas, who I loved as a child, and Spanish 30s propaganda posters, which I saw in an exhibition as a teenager. I realised that illustration is an art form in its own right. But it took me a while to get there.

You practiced as an architect for ten years before taking up a career as an artist and illustrator. What made you make the change?
I got quite burnt out and I wasn’t happy with the direction my career was taking. On paper, it looked really good – I was becoming senior in the company I worked for. But I was working on a project in Saudi Arabia – a Sports City designed almost entirely for men – which riled me. I didn’t agree at all with the ethos of it. A lot of the sustainable engineering elements were costed out of the project, which riled me as well. I was struggling to be part of my family at home and at the same time be required to travel abroad at the drop of a hat, or stay late working to deadlines. I was asked to write a design guide to swimming pools and all I could think about was what illustrations I would do a) for the front cover and b) inside, to make it look more interesting. At that point, I wondered whether I should be in a different career.
 

Eddie Merckx | Painting by Eliza Southwood

 

Your cycling illustrations are a distinctive feature in your work. Where does this passion for the art of cycling originate, what is it about cycling that inspires you so much?
Bikes are basically efficient, beautiful machines that have changed very little in 100 years. Also, I like drawing humans and the human form generally. I think it’s a combination of the colours you see in professional cycling, the elegance of the bikes and the variety in cycling tactics itself – the peloton, the echelon, the sole breakaway – that have so much richness. And the landscapes that cyclists travel through are great to illustrate.

Do you have an all-time favourite cyclist?
I like Eddy Merckx – I have one of his vintage road bikes. Also Miguel Indurain – I met him a couple of years ago and he is charming.

Are you riding your bike in London?
Yes – I commute to the studio – but, since I have two dogs, I tend to do more walking than cycling nowadays.

Are you interested in illustrating other sports, too? Tennis, for example? (I am a big tennis fan).
Yes – I have designed and made rowing, swimming and running prints. I should do tennis actually. I’d like to do football one day as well.
 

Col du Galibier | Eliza Southwood

 
You mention the landscapes the cyclists travel through as one of the elements great to illustrate in cycling. How important is actual observation for your work and how much do you rely on imagination?
Observation is really important. Sometimes I pretend in my head that I’m drawing something just so I can look at it properly. So much of what we see on a daily basis is scanned over without properly stopping to see. I find life drawing really useful for familiarising myself with the human body. However, I rely on my imagination for ideas. I have no shortage of ideas and I quite often just make something up out of nothing.

Who and what inspires you daily?
Just walking around looking at architecture and people inspires me – and thinking about stuff, wondering what I’m going to do next. I spend a lot of time thinking. I always get inspired by going to see art shows in London too.

You have recently won the London Transport Museum’s annual Poster Prize for Illustration with your “London is the Place for Me”. What made you choose the Empire Windrush theme? Because I have the feeling it speaks on different levels and it is very poignant in today’s context.
I chose the Windrush theme because I was outraged by the Windrush scandal. I wanted to celebrate this part of history too by honouring the people that came over on the boat. I’m white, so I was aware of the cultural sensitivities involved in portraying a part of black history, but I felt strongly that it should be the subject of my illustration, especially considering that last year was the 70th anniversary of the arrival of the Windrush.
 

London Is the Place for Me, winner of the London Transport Museum’s 2019 prize for illustration | Eliza Southwood

 

How big a part does hand- and digital-drawing, respectively, play in your work? Would you ever consider traditional drawing exclusively?
Yes, I would quite happily boot the computer away, but in illustration it is so much easier and quicker to colour something in digitally. All my work starts with a hand drawing anyway. Also you can correct mistakes very easily. Basically, the computer is just another tool.

You grew up in Spain and have lived and studied in Italy, Scotland and England. How has this multicultural background informed you creatively?
I think diversity is really important and being open to other cultures and ideas. I speak three other languages in addition to English and I get commissions regularly from Europe. It means a lot to me to be able to email my clients in their own language. I love being a citizen of Europe. Needless to say I am very upset about Brexit. I suppose being exposed to different urban environments and different rural environments has been inspiring because it makes your work more diverse. I really enjoy travelling generally – as a result I love drawing the arid landscapes of Spain as much as a cityscape in London. If you’ve never been somewhere else it’s not as easy to conjure up an image.

What qualities separate illustration from photography? I am asking you this because today everybody thinks they can take a photo with their iPhone and I believe that illustration has a different mindset, not as accessible, instant and easy to alternate.
I think illustration can convey more meaning and more visual possibilities than a phone pic. You can invent stuff, you can add things in the background, and you can incorporate texture and invented worlds and creatures – you can do anything in illustration. You can combine colours to grab people’s attention, or simply create something beautiful that people just want to keep looking at. I don’t really understand the comparison because they are worlds apart.

Yes, photography and illustration are worlds apart, but I was asking this because in the last years the overflow of filtered iphone photography seems to be a big factor why illustration seems to be seeing a revival in the more traditional sense (maybe that’s just my opinion). I was thinking more of the craftsmanship involved in illustration and also that once there was more craft involved in photography, too, when they used film and developed it in dark rooms.
I was one of those people who developed their film old style! I used to use sepia film to take good pictures of concrete buildings when I was at architecture college. Lots of more traditional craft techniques are having a revival now – like knitting, hand drawing, making stuff by hand. I do agree that it is a reaction to the proliferation and ease of digital production.
 

Dragon Ride | Eliza Southwood

 
Do you keep a sketchbook?
Yes I do – it’s rubbish. Full of to-do lists and doodles. My work in progress sketches are all scribbly. My sketch book is not a thing of beauty to show people. But it’s very practical.

Do you have a specific working atmosphere you like to surround yourself with when creating?
I like working in my studio, listening to music.

I also love the posters you did for The Tweed Run. I’ve always loved the idea of The Tweed Run, a bike ride in your well-pressed best, and your illustration beautifully captured that spirit. What does style mean to you?
It depends what you mean by style. The Tweed Run is a fun poster to do – I’ve done it for quite a few years running now – because I get to use all these tweedy textures. I love collaging textures into my work. I’m not particularly stylish myself – in fact I’m quite scruffy because I don’t have to work in an office any more.

I am referring to style in a bigger sense. As a way of dressing, yes, but not necessarily from the point of view of fashion, but rather as an individual take on what’s surrounding you.
Yes, of course style interests me. I follow some really good accounts on Twitter like @presentcorrect and @BrutalHouse which I find constantly inspiring. There are some good print-making publications too, such as Pressing Matters… I love books, design, architecture and vintage photos of cycling races. Anything really!
 

Mont Ventoux | Eliza Southwood

 
Words you live by:
I hesitate to say Carpe Diem as it sounds a bit naff these days, but I really do take each day as it comes and feel lucky to be alive.

Your favourite thing to do in London and which you would miss if you lived anywhere else in the world:
Dinner at the Ethiopian restaurant round the corner from my house, followed by a late show at the RA followed by cocktails in the RA bar.

One thing you can not start the day without:
A cup of tea (not a coffee person).

In this day and age, what do you wish people appreciated more?
Good grammar, kindness and the NHS.

What makes you happy at the end of the day?
Happy clients, happy family and happy dogs. In no particular order.
 

Miguel Indurain, illustrated by Eliza Southwood

 
 

Website and online shop: elizasouthwood.com
Instagram: @elizasouthwood | Twitter: @ElizaSouthwood

 

Posted by classiq in Art, Crafts & Culture, Interviews | | Leave a comment