profile: Ryan McGinley

PHOTOGRAPHS. Of pretty young things. Where nudity is the norm: whether in solitude with nature or amongst friends of a similar disposition. Voyeuristic connotations may be provoked. And he has come up against much criticism.  

But there is something strangely compelling about viewing Ryan McGinley's photographs. They offer us a window; through which one gazes, fascinated. Emotions are stirred: admiration, disgust; jealousy, lust. Questions may be asked. Would we do what they have done? What kind of person likes or dislikes these images? 

I for one am in a slight quandary. On the one hand I am drawn in by the world that McGinley presents to me, perhaps due to the fact that (as Caroline Stanley writes) the photographs 'can be nostalgic, innocent, and sexual all at once because it’s not about capturing youth, but some shared fantasy version of it.' I am caught in a reverie of carefree frolicking. 

But on the other hand, these images seem just a little bit too contrived, too 'cool'. The colour saturated yet weathered feel, and flares of light entering the frame from all angles emphasising or obscuring certain aspects, are reminiscent of days before the digital camera. An effect that many today are trying to recreate. 

And at times the apparent spontaneity of an image is doubtful. Though this may be intentional if one is to interpret McGinley's images as simply presenting fanciful notions of what it is to be young, rather than a reality.

Yet he has clearly got something right. McGinley is the youngest artist to have had a solo show at the Whitney Museum in New York. And his black and white photography is not only sensitively shot but shows a true admiration for the human form. 

I think that what I like most about McGinley's work is the juxtapositions it often presents, involving a subject matter that can be both beautiful and awkward. And the nude is not always explicitly present, at times simply alluded to - a reliable presence that can be located if sought (most notably in his Moonmilk series). This is what makes me believe that he is not using the body in a exploitative manner but simply as a tool. I am as yet undecided as for what though. 

profile: Soojin Kang

SOOJIN Kang views today's culture of mass production and disposable fashion as deeply problematic. Her suggestion is that we consider our basic needs against our possessions and use the materials already within our means wisely and beautifully. One of her outcomes has been a collection of 'dressed furniture'.

Kang's sensitive approach has resulted in pieces that - through the use of traditional crafts - have been rejuvenated, yet still retain their original identity. These suede covered chairs are particular favourites of mine. And her jewellery is pretty interesting too. Take the bracelet below: antique chain and plastic is combined to create, in Kang's words, designs that are both 'unique and meaningful'. Visit her site soojinkang.net for more information and images.

profile: Allyson Gee

ALLYSON Gee is a 2010 graduate in Jewellery and Silversmithing from Glasgow School of Art, whose work I discovered at New Designers. I was instantly intrigued by the way in which the delicate forms of the butterflies had been 'captured' within the metal framework. Drawing inspiration from the way in which entomology and lepidoptery uniformly presents its specimens, Gee explains that for this collection she sought to imitate the display cases within which the insects are held through the use of geometric structures. 

As much as I would love to, I somehow doubt that the pieces that Gee creates are wearable; though I can see real potential in them to be worn as part of an amazing photo shoot. To see the rest of the collection visit: allysongee.co.uk

profile: Christian Wijnants

THIS designer's use of block colour and creation of interesting silhouettes in his latest collection caught my eye on the Sien website. A graduate from the Royal Academy of Fine Arts in Antwerp in 2000, Christian Wijnants launched his own label in 2003. Over the years he has been praised for his knitwear research and has gone back to teach at the Royal Academy.

Although not all of his designs are consistently something to shout about, at times Wijnant's experimentation with form manages to result in unique items which are thoroughly wearable. But what I found most appealing about his designs were the playfully styled images through which he presents them, as can be seen in the 'catalogues' for more recent collections on his website. 

profile: Seana Italia Redmond

THE Gorilla Coat is the amazing hand knitted creation of Seana Italia Redmond, by far my favourite piece within her collection entitled 'Traces'.  Of this body of work Seana explains that:  

"Photography has been a tool to capture the elusive movement and texture of my knitwear; the capture of these garments means they are precious frozen frames of moments in time which could otherwise have been lost in the blink of an eye. The knitwear is therefore driving a mood and tempo rather than merely being a static collection that is captured and presented through a photographic record."

Following on from an evocative series of photographs, Seana has produced a film, which can be viewed on Vimeo.

profile: Verity Brown

AT Saturday night's University of Brighton graduate fashion show, Verity Brown's understated collection stood out in my mind, showcasing pieces I would love in my wardrobe. Inspired by the theme of optical illusions, Verity presented beautifully layered sheer striped trousers that were a joy to watch sashaying down the catwalk.

profile: Daisy Newman

THESE wonderful fashion illustrations are the work of Daisy Newman, whose recent fashion textile collection revolved around the theme of superstition. In addition to creating an innovative range of printed textiles that were transformed into an imaginative yet wearable clothing collection, Daisy has produced brilliantly dark film called Internal Superstition Externalised, featuring garments and headpieces from the collection.