Why we do what we do
We believe every piece of content we create should be outstanding. And we want our creative to delight our clients as much as it stretches us.
Big agency results without big agency hassle
That’s why we launched in 2006 to do things differently. With years of senior-level London agency experience, we knew we could deliver exceptional creative work and strategic thinking to clients who prefer simple, direct, flexible collaboration.
A tight-knit team of international talent
So we brought together an e-collective of copywriters, journalists, art directors, animators, composers, poets and actors with bags of publishing, media and branding know-how. Our core collective, which has worked together for years and is made up of the best practitioners in their fields, is small and responsive. Beyond this, we draw on a network of local and international creatives, matching the right person to the task.
We take pride in the work we produce. From full-blown magazines to niche social media campaigns, from animated projections to slick videos and sound, from speech writing to PR, we bring intelligent thinking and beautiful execution to every creative challenge.
Keep it simple
Our processes are seamless, our service is personal. We deliver on brief and on time. And we’re told that we’re nice people to work with, too.
14 November 2016
Take two minutes’ time out to contemplate the breathtakingly beautiful illustrative work of our motion graphics wizard Alec Strang.
Here, he experiments with fashion illustration and grid patterns to create stunning art deco- and art nouveau-inspired textile designs. Mostly hand-drawn using graphite and ink, then finished in PhotoShop, Alec’s creations have depth, detail and a poetic sensibility, whilst also being very on-trend. Any textile/fashion producers out there want to get in touch?!
14 November 2016
In my teens I often lamented not having been born ten years earlier. Oh, to have been a teenager during the turn-on, tune-in, drop-out era: psychedelic art, mind-blowing music, uber-groovy fashion, political protest, love and peace as a mantra.
So I took myself off to the V&A’s all-senses-satisfied exhibition on the era-defining significance and impact of the late 1960s. The immersive experience offers a superb soundtrack… from the Velvet Underground and Bowie, the Beatles and the Beach Boys, to Led Zeppelin and the Rolling Stones via every other 1960s anthem you care to name.
Standout visuals include the Ossie Clark-designed spangly, skin-tight jumpsuit worn on stage by Jagger, paper cut-out dresses by Mary Quant, vibrant, wall-to-wall, multi-coloured posters, and a massive projection of Hendrix wigging out at Woodstock to his own inimitable version of The Star-Spangled Banner.
In the end, emerging into a post-Brexit, Trump-as-president-elect cold November afternoon, I couldn’t help feeling that the major issues of the 1960s are still with us today. You say you want a revolution? Yes, we want it now, we need it more than ever.
07 January 2016
More than just a celebration of India’s cultural heritage, The Fabric of India exhibition is a record of its political history, in which its textiles industry has played a crucial role.
We begin with the ancient fabrics of the 3rd century, dyed with pomegranate rinds and turmeric (yellow), lac beetle secretions and chay root bark (red), and the famous indigo plant whose name derives from ‘India’. Khadi, the homespun cotton cloth that symbolised the ideological movement founded by Mahatma Gandhi, is given justifiable prominence. The eye-popping opulence of the Mughals is touched on in rich silks of gold and silver brocade. Surprisingly, perhaps, when we think of the riotous colours and extravagances of Bollywood, there’s very little bling. Instead, pride of place goes to Tipu Sultan’s 18th century tent, a portable palace made from 58 square metres of block-printed chintz, painstakingly hand-painted with flowers, which served as the Sultan’s accommodation whenever he went ‘on the road’. There’s also a 17-metre wall hanging from Gujarat, dating back to 1920, intricately embroidered with a procession of elephants, mahouts and soldiers on horseback. Incredibly, it was tossed onto a New York pavement as rubbish some twenty years ago; whoever dumped it would surely kick themselves now…
Spectacularly successful in bringing its fabrics and embroideries to the attention of the world of haute couture, India’s contemporary textile industry is also showcased, along with the astonishing craftsmanship of the subcontinent’s celebrated fashion designers: Manish Arora is one such, with his joyous reinterpretations of the sari alongside his opulent couture creations that have lit up all the major catwalks of the world.
The Fabric of India is a sensual hit of spice colours, sparkling metallics, ornate embroideries, and gasp-worthy artistic masterpieces – a perfect antidote to the British winter.
The Fabric of India, Victoria & Albert Museum, London. Ends 10 January 2016.
06 January 2016
For two decades we’ve been transfixed by Carlos Acosta’s fearlessness, power, god-like aura and catch-your-breath sex appeal. I could go on. But even gods have to call time when pain is a constant companion. So, at 42, Acosta is giving up the hugely demanding classical repertoire before it gives up on him, to focus on contemporary dance and choreography.
He started life as a Havana street urchin, the last of eleven children, and heading for trouble. When his father discovered that the local ballet school not only dished out hefty doses of discipline, but also provided three square meals a day, he promptly enrolled young Carlos. The rest is history. Sent to Turin at 16 on a cultural exchange, he went on to win the international Prix de Lausanne gold medal. At 18 he was the English National Ballet’s principal dancer, and the Royal Ballet’s from 1998.
Acosta’s backstory serves only to bring his virtuoso technique, musicality and athletic grace into even starker relief. Add to this the bucket-loads of charisma, charm and intelligence that have earned him the soubriquet ‘the Cuban sex missile’, and it’s easy to understand the devotion he inspires. So it was that his farewell performance on 13 December at the London Coliseum was a wildly exhilarating extravaganza that brought the house to its feet cheering, chanting and calling for more. In the company of his Royal Ballet peers, Marianela Nuñez, Zenaida Yanowsky, Yuhui Choe, Valeri Hristov, Thiago Soares, Anna Rose O’Sullivan, Tierney Heap and Nehemiah Kish, he delivered a series of excerpts from the classics packed with heart-stopping, high-risk pyrotechnics. Erotic and sensuous, terrifying and thrilling, it was an epic last hurrah. To paraphrase Dostoevsky: “The brighter the star, the darker the night.”
15 December 2015
Alexander McQueen may no longer walk among us, for which couture is very much the poorer, but he lives on in a canon of incomparable work recently exhibited in London: Savage Beauty was the unquestionable hit of the V&A’s summer roster.
The exhibition tracked his output from his 1992 MA graduate show through to his unfinished 2010 collection. Included are the infamous “bumster” trousers – so perilously low-rise that the skinny dared not sneeze – and a 3D hologram of Kate Moss set to the soundtrack of Schindler’s List, the haunting finale to his The Widows of Culloden collection in 2006.
A degree of fascination attaches to the gifted who die tragically early; given the uncompromising naming strategy McQueen applied to his collections – e.g., Nihilism, Highland Rape, The Widows of Culloden and The Hunger – it’s tempting to see Savage Beauty through a prism of personal torment. But this would be to detract from his extraordinary creativity. He worked with a vast range of materials, from plywood to razor clam shells, metals to Swarovski crystals, feathers to leathers, embroidered silks to tartan wools, and his technical expertise and ingenuity have to be seen to understand why he was hailed a genius. One illustration was his insistence on designing from the side – if his clothes flattered the body’s worst angle, he reasoned, they’d work all the way round. The spectacle didn’t stop with McQueen: also on display was breathtaking work from celebrated collaborators – jewellery by Shaun Lean and sculptural hats by Phillip Treacy.
No account of Savage Beauty can ignore the mannequins’ faces: encased in leather and metal, they resembled modern versions of the Scold’s Bridal or the gimp mask. Misogyny? Surely no one who loved his mother so deeply could have loathed the rest of womankind? My companion at Savage Beauty was a psychotherapist whose observations give another perspective: “McQueen spoke of how beauty comes from within, but I was struck by the flamboyant and aggressive surfaces (leather, feathers, polyurethane, plywood, et cetera) and how any sense of an inner self disappeared. This was emphasised by the masks and headdresses, often reminiscent of S&M or animal themes, so the models appeared faceless, powerless, interchangeable. Watching the videos of his shows, they seemed to focus on external drama to avoid seeing inside. Could a fragile inner self have been extravagantly hidden to the point where containing it became unbearable? And what about the incessant need to be yet more creative over time? Is creativity constantly regenerative and quantifiable? Did it become a burden?”
Poignantly, just before his death McQueen had been accepted for an MA at London’s Slade School of Fine Art. He had wanted to pursue his passion and get out of fashion. If only he could have applied the title of his Spring/Summer 2005 collection to life: It’s Only a Game.
15 December 2015
When Can Can’s Victoria Moss seized the chance to interview the ever-fascinating Donatella Versace, the results were expected to be unpredictable… Find out what the designer thinks ‘sexy’ means today, and be blown away by her boundary-breaking boldness in a previously unthinkable ad campaign.