After Ethel and I shot the image for the Addict colab last year, we (that’s me, Ethel and Eloise from Addict) were asked to contribute to a forthcoming book on Street Art by Ric Blackshaw and Liz Farrelly. It’s good to be invited to contribute, even though I wouldn’t say this co-lab was specifically related to street art as such. I’m a big fan of Liz’s books and who would knock a chance to talk about work? So, I got my copy through a while back and just got around to posting – now that the site has stopped impersonating a yoyo. Click below to read the accompanying short interview…

KAREN JANE, ETHEL AND ADDICT
In another Addict project, the issue of gender imbalance in the streetwear genre was addresses, via this collaboration with the artist Karen Jane, and the photographer Ethel.

How did the collaboration come about between Karen Jane, Ethel and Addict?

KJ: I was approached by Addict to work on a collaborative project with them. Since producing the desaigns, the wheels have been in motion leading up to the product launch. I usually work on project with a much faster turnaround, and it had been sometime since I designed the pring so I wanted to mark the launch by creating a new work; the image with Ethel.

Eloise at Addict: For us the main attraction of NBFG is that it’s a stand alone brand created by a female artist representing in an overly male dominated industry. NBFG is clever, understated and quirky, all of which make the brand British through and through. It goes it’s own way, has appeal through colour and strong graphics, and a sense of humour, that if you understand you get it, and if not, it doesn’t mater as it’s still an amazing product. This is the first print pattern collaboration Addict has produced exclusively for the ladies-only limited edition, which was a statement in itself in this market. To take it to the next level, the project needed another collaborator with skills, who could share and execute that vision.

Who played what role in the collaboration?

KJ: I designed three different prints for one of Addicts staple pieces, the Method Zip Hoodie, and they picked the on that they felt would work best. After that, refining the final print, colours and repeat tile was an organic back and forth process between Eloise, the guys at Addict, and myself. The Addict went through the process of sampling and production. The idea for the image led on from the print, inspired by playing suit icons. Ethel and I talked it through and had an idea of how it would work before she shot anything. The we both worked on putting the final image together. It was a beautiful Photoshop duet!

Eloise at Addict: Our main role in the collaboration was at the garment stage, so once the ideas had been bounced around and the graphic had been developed, we discussed colour, sizing and print finishes with Karen Jane. We oversaw all product development from fabric to fit to finished garment.

Ethel: My role was as the photographer. It was a cool image to work on. Me and Karen have similar attutudes so it was easy to work things out, particularly because Karen’s graphics are so dope!

How do you think that a clothing project relates to the practice of street art?

KJ: It depends on the project, who is doing it, and the knowledge, experience, and the methods that they bring to the table. That’s a complex question!

Eloise at Addict: I think a clothing project puts a different spin on it, you’re changing the medium, and the clever thing is to get the project to work as a whole, not only as a representation of the artists work, but as a garment as well. Not wanting to sound pretentious here, but I think fashion is about your own expression, whatever you’re into. It’s a bit naff to be blatant about stuff; big brands jump on all sorts of things that are the flavour “du jour”, especially in sub culture, and it’s hard to find rare things now. So it’s about being subtle and clever, with the ability to have a finished product that is stellar in all aspects.

Image credit: This promotional image for Karen Jane’s collaboration with Addict was photographed by Ethel. Print and graphic designed by Karen Jane. Model: Ren. Thanks to Liz and Ric – find out more about the book and other contributors here–>