Self-confidence and awareness patterned Kelly Sue Lampers’ story. With high expectations when addressing her goals as a creative professional, the Dutch designer envisions diversity and inclusivity – access for all! Lockdown provided time to rethink her perspectives on creativity; identifying her creative values.
In her mood board, she pins up her vision of a society fulfilled of diversity and equality. She designed a unique clothing line for fashionable women bonded to a wheelchair which granted her winning the “Fashion on Wheels” competition in 2014.
Upon graduating, Kelly Sue launched her brand in 2016, intending to provide a stylish, yet classic clothing line for the women with disabilities. With attention to the individual and identities. Soon she acknowledged the big issue, the lack of equality, diversity and unity in the fashion and beauty industries, not to mention in our society.
She brought diversity and unity to the catwalk when she presented her collection with the slogan “Broken crayons, still, colours” in 2017 at Amsterdam fashion week, featuring all body types and beauties. They are SUE’s Warriors, the foundation Kelly Sue created to embrace these amazing women and draw the fashion industry’s attention for inclusivity. “With this foundation, I want to get awareness in the fashion industry for this particular audience. Represent them equally. Also, educate our society to be thinking out of the box; we are all equal in our differences.”
(Visuals provided by Kelly Sue Lampers – Instagram @_.kellysue._ @sues_warriors)
Her mission has forever been to raise awareness, she develops educational projects and collaborates with other foundations focused on diversity like the DMA model agency and the Diversity fashion week.
Creativity is part of her DNA.
Lockdown got the Dutch designer Kelly Sue Lampers into rethinking her creative fulfilment. “…because of the lockdown, when all the scheduled projects with SUE’s Warriors were cancelled, I got time to think clearly about my goals. I questioned myself if I was creative enough or challenged. I am a creative person, so I miss being creative with my hands, creating designs and working with colours. With that thought, I decided the SUE’s Warriors foundation needs a manager who will share its mission and get awareness. Meanwhile, I can develop my new feature, interior styling; work together with architects into creating accessible buildings to all.”
Positivity and inspiration highlighted the unique conversation with Kelly Sue. She celebrates diversity continuously.
Her latest project, joining the Miss Benelux Pin-Up contest matches perfectly with SUE’s Warriors and herself: “I entered the Miss Benelux Pin-Up contest because the modern pin-up beauty is the celebration of all body types. This is a perfect match with SUE’s Warriors and with myself. I am a vintage-style lover.”
Unconditionally, Kelly Sue empowers access for all.
A not one composition might be fairly complex in its structure. Several arrangements and notes play an essential role in each performance. The tune identified can be as mellow and as crispy depending on the strings attached. When appetitively learning by ear, all chords and pitches fit creatively, but it is a learning process. That is the ethos of Ludwig Rondon in his path to becoming a reputable classical guitarist and educator.
The teenage Ludwig Rondón, born in Curaçao, moved to the Netherlands in 1986 to study architecture, but little did he know he had that musician sparkle hidden that later turned into a passion.
As an introduction about himself, Ludwig Rondón starts the conversation with his untypical story as he says: “My story is not typical…I got my first guitar when I was fifteen years old. I just played as a hobby!”
How did you get into music?
In 1986 I came to Holland for better opportunities. It wasn’t music studies yet. I was planning to be an architect because I had a technical background. After six months, I bought a guitar. I just played as a hobby. Playing music by ear and making some arrangements together with other people. Not until I was twenty-six-year-old that I took it more seriously, giving it a professional direction. So I started studying music, taking harmony lessons to understand music. After that, I did an audition, and I started practising. So that’s how my story is, a bit complicated. I didn’t start very early playing the guitar. I was fifteen when I got my first guitar from my father. He played a little bit. I just played as a hobby.
Then you made the step into your creative career?
Later on, I took it more seriously, so if there was a spark that became a passion, I made this my profession.
In one of your guitar’s performances at the “Gluren Bij De Buren” festival in Houten, you said to be inspired by Brazilian music when you played a chorus. Tell us more about that?
Oh, I get a lot of inspiration from Brazilian music. I listen to different performances, composers and styles. Brazil is diverse in music styles, but mostly I dedicate myself to the chorus. Besides what I do with music education. I dedicate my time to teaching children and adults, music students preparing for the music academy. Yes, I remember that day at “Gluren Bij De Buren” in Houten. I played Marco Pereira’s.
From such an inspiring memory to your experience during the lockdown. Did you stay motivated? What are your conclusions or findings regarding the lockdown?
Well, I wasn’t very motivated. I need to say that I felt like more than twenty years of work has been taken from me. I lost clients. I had no income until the first of July. Before that, I gave some online lessons, but it wasn’t fun at all. It was no physical interaction which is of great importance for teaching music.
But, you are still busy composing, so do you have a recent project?
During these months, I just told myself I could do two things: find any jobs for little income, being frustrated; or I can try to think outside of my comfort zone by finding new ideas and ways, still being in touch with my creativity. So I picked up playing more and making some new arrangements. Like the next project is a piece of Tom Jobim called “How intensive”.
Even though Covid-19 made it uneasy for Ludwig to keep inspired, giving up was not the way. He awakened his inner power to find the way forward. Thinking outside the box, not letting frustration lead. The only way was restoring the laces of his creativity.
” I think we as musicians, artmakers, painters, designers, the art industry. We need to call out society. Without these people, creativity, creative brains, it would be an empty and grey society. So, I hope for better times, especially in this creative industry.”
Unmasked humanity creates unique tapestry in Janssem Cardoso’s photography.
Love, compassion and tolerance are often quoted as good qualities to possess and to live a good life; but the Brazilian photographer and videographer has gone beyond personal traits to incorporate them into the very fabric of his work.
Among his short movies and exquisite photography, a common thread of humanity, vulnerability and warmth links his subjects with incredible results, which are always touching and simultaneously provoking.
Mastering imagery in such a powerful way, you’d be forgiven to think he’d done nothing else apart from photography. But his journey didn’t necessarily start behind the lens: “I was studying Graphic Design at university and photography was one of the subjects – I just fell in love with it.” From there, he got a job at an animation studio where he was placed in a fast lane leading to the purpose he instinctively wanted since childhood.
Growing up in the Amazon State in Brazil, he was exposed to a rich universe of colours, cultures and the arts beyond the standard ludic space reserved from children. A close uncle, who was an artist, had a defining influence in Janssem as a child: “Thanks to him, I was allowed into this artistic universe… I loved drawing and anything artistic as a child… Later in life, after discovering Photoshop, I translated that instinct into a new purpose and just created and experimented with photography and filming. Everything was very intuitive.”
“When I started filming, digital was only in its infancy. I still had to use VHS and then digitalise the material. It was a complicated process but this walk influenced me and the experience in the animation studio gave me the confidence to take part in the Amazon Film Festival which, in turn, pulled me into cinema”, here, talking about the Amazon State in Brazil.
For around a decade, Janssem has been developing his talent and achieving a body of work that conveys emotion, humanity and compassion in projects that are beautiful, audacious, thought-provoking and incredibly attractive. Perhaps one of his most notable qualities is that he is remarkably devoid of artistic self-reference and genuinely interested in his subjects’ wellbeing, their needs, struggles and stories. This is evident in his work. But when we ask him about his inspiration, he says: “My photography and my work are a reflection of who I am, my life experiences… Everything I have ever lived and live right now influence my vision, how I see and perceive things.”
Taking life as it comes and keeping an open mind has led Janssem to live incredible moments: “Photography gave me many opportunities… For example, I went to Paris to photograph as friend’s wedding to whom, years earlier, I had promised to document when he got married. The day finally came; I travelled to Paris and fulfilled my promise.”
Coming from such a long way, he decided to take the opportunity and visit London for a couple of days… And then, something unexpected happened: “My flight back to Brazil was cancelled and I spent a further two days in London. During these two days I made a new friend through whom an opportunity came to work as a photographer for his charity in Camden, completely out of the blue! I went back to Brazil, organised the logistics and returned to London to take this unique opportunity and lived there for over 2 years… All because of a cancelled flight…”
Leaving the charity and London in search of new horizons to expand his work back in Brazil, Janssem started to explore and research a resurging movement of artistic nude photography. But, far from eroticised subjects, he was interested in documenting identity, the human vulnerability and self-esteem: “I then created the project ‘Other Colours’ to show nakedness as something natural. I wanted to disassociate naked from sexual.”
As he started the project, fundamental questions emerged such as body types – he didn’t want to keep reproducing similar profiles of what an ideal body should be and, so, diversity entered heavily in his concept: “I felt the need to document a variety of subjects, being it physically and racially.”
Taking this direction was really important for Janssem on a personal level too: “I evolved with this project and it also helped me to accept who I am. Not only it touched the subjects and those viewing the results but it touched me deeply on a personal level, physically, sexually and since then, I started having more empathy and compassion for people and understand things I did not understand before.”
‘Other Colours’ is a beautiful manifestation of a human need and desire to spiritually ‘undress’ and be accepted by what we really are – acknowledging and accepting what we believe we are: “For some subjects, the photoshoot was even the first step to accept who they really are”, says Janssem.
For example, there is the story of an over 60 years old woman who noticed that, as soon as she stopped dyeing her hair, people on public transport started offering their seats and; in general, treating and seeing her differently as if she had no much more to offer and someone who was not desirable anymore. The reality, however, couldn’t be further from the truth – she has a healthy and active sexual life and wanted to see herself as a sensuous and desirable woman: “The project opened the doors for discussion on many other topics such as a disability and age. At the beginning I just wanted to register people in a non-sexual way, but it has now expanded to a wider discussion and matters of identity.”
The photos are strong, delicate and truly individual. It’s difficult not to connect with their humanity and be involved in the emotions captured. Now running into its 4th year, Janssem planned to conclude with 100 subjects but the pandemic has delayed it: “I’m still digesting all this… Is there going to be a vaccine? When? Everything is hanging on standstill… this time was useful to think and have confidence in what I know – my work as a photographer and videographer; and get deeper in my search and share this search with other people.”
Sharing his search with others has led Janssem to work on a new podcast called “Ruminando” (ruminating), where he explores creative ideas with guests specialised on different areas and who have influenced him throughout his life. It includes an economist friend, a tutor from his university times in Manaus (capital of the Amazon State), a journalist friend and a teacher from his post-graduation: “I want to share my own journey and create something that will be useful not just for this moment that we’re living but for the future too, by taking the experience and advice from people I admire and respect.”
Certainly for Janssem, the pandemic is an invitation for reflection. He keeps inspired by feeding from the same sources that translates into his work: humanity.
Experience, to some, is a journey registered in particular ways, engraved on one’s heart. Passion guided discoveries, accumulating memories of unique moments. Lockdown was for Graziana Zanin this, an unforgettable experience.
Italian blood runs in her veins and also in the romantic way she describes her life experiences.
Lockdown is softening in the Netherlands. Less distant than the video-calls, Graziana and I met in Arnhem, Netherlands, in the assurance that we both were COVID-19-free.
With her background in fashion design, a bright world opens ahead because as she says “with everything that she does, she puts passion above all, regarding work and people”.
Openly, she speaks about her relationships and the passengers in her life-journey. With an open heart, she describes her likes and dislikes regarding her ideal holidays, luxury hotels in France or Italy. “Never going to the bushes”, her quote to a holiday to Africa. How on earth did she get into Kenya?
It started when she worked as a public relations and advertiser for a company that supported good initiatives. For instance, The Chicken Project, aimed to help women in Ghana, forced into marriage at a young age. Via this project, she adopted two boys, Brian and Chris, supporting them into a brighter future. Technology made overseas contact possible and regular, but the boys kept asking for a personal visit.
After seven years, she booked her trip to Kenya to meet Brian and Chris finally.
Optimistically she added “make yourself happy girl, live the moments. When you’re happy inside, you can make everyone happy!”
In February 2020, she arrived at the airport in Nairobi.
At first, Chirs and Brian were timid even though they knew her already. Soon enough they were comfortable with aunty Graziana. With joy, she describes the reaction of the two brothers with their premiere to the Giraffe centre and visiting the mall to play games.
“That’s my passion. I meant something to these African boys. I could cry, my heart jumped, and I was so happy seeing them smiling and forgetting their problems.”
Next in the programme was meeting the boys’ family in Kiango near Kisii (The Western Highlands), located five to six hours from Nairobi near the Masai Mara reserve.
“When we got there, all the family and neighbours were outside…I felt like Queen Beatrix.” So she talks about her first impression.
A “Mzungu” visiting the village is the news! In the African language, this is the term they use for Europeans (white people) that travels the world. “What I discovered over there, people are warm even though they have not much to share”. Graziana was living the moment of her life, and little did she know about COVID-19 pandemic.
Her family was worried, but Graziana was in a safe surrounding where fewer than six cases were registered. Sooner lockdown breaks.
Unfortunately, in this village were other issues such as children in hunger from single mothers that had to sometimes get into prostitution to feed them.
“At this moment, you learn the situation of others. For example, around me, children were begging for something to eat.”
Straightaway, thanks to her colleagues and friends, via Facebook, she raised money for basic food to that community. Maize flour, for instance, is the primary ingredient for their “Ugali” which is part of their every day’s meal.
“When I saw these people’s smiles like this woman from whom I took a picture. You could see that for one moment she forgot about everything but happiness and enjoyment at that moment.”
Her experience taught her to appreciate little things in life, from teaching to play Dutch cards-game to introducing spaghetti to foreign children and teenagers.
“This makes me a rich person. I already felt happy when I was there, but all this experience was a learning journey.”
Open-hearted Graziana was meaningful, helpful, but mostly the voice for these people living in an under-developed environment.
How motivating her tiny goodwill gestures represents to the path she decides to follow, whether in her home country, the Netherlands or on a faraway land such as Kenya.
Graziana is rather content with her life accomplishments. From her failures, a learning moment, from her success optimistic conclusions that passion rules her reason for living.
The musician/producer and graphic artist from Madrid is navigating the pandemic through the power of music.
If you’re aware of your surroundings and the people occupying them, you’ve probably noticed that we all pulsate to different vibrations. That invisible but undeniable wavelength linked to someone’s being and what we call their energy, their vibe.
Sebastian Litmanovich pulsates to a wonderful vibration – the rare mix of sensitivity, talent, instinct and simplicity. Seldom do we come across someone as complete and yet so relatable, grounded. Soft-spoken, with dark curly hair and a demeanour that is both disarming and enticing, the musician is better known by his alias ‘Cineplexx’ and has composed and produced an eclectic body of work.
In a more personal level, Sebastian doesn’t shy away from life’s struggles. Acknowledging the current difficulties is something that most of us are obliged to do, but he has gone a step further in an inspiring dichotomy where, just like a balanced universe, struggles coexist with life’s beautiful pleasures, discoveries and hope for the future.
It is in this vibe that he spoke to us from his apartment in Madrid.
We’ve known you as a musician and DJ but have since discovered that you’re also a talented visual artist…
Yes, I started as a visual artist in Buenos Aires where I studied the subject – music was a bit more intuitive and self-taught. But over time, I learned that I was studying music on my own, making time for it with discipline – the exact same process I would do in a university.
I studied Graphic Design & Audiovisual Media, and finished my education in New York at the Parsons School and School of Visual Arts. I love everything visual or musical.
What was life like back then?
University was a very busy time… I was simultaneously training as a kind of professional tennis player and working in a factory to pay for my studies. It is crazy to think about it now: I’d work, then go training and attend lessons later in the day. I didn’t have a moment of quiet or relaxation.
Back then, I was still living with my family and wanted to be busy, doing stuff. My family is very hardworking and that lifestyle was all I knew. It was also a very optimistic environment, with lots of plans and always looking forward to the future. It was inspiring.
With so much going on, we wonder how did you get into music? Did you even have the time?
I always wonder about this because there were no musicians in my family… My grandmother was a piano teacher but I never saw her playing. As soon as she got married, she stopped playing as if to say: “That’s it. I’m married now – I don’t need to teach piano anymore.”(Laughs)
I think my influence comes from my father exposing me to music. I was born in the 1970s and later in the decade, I started listening to music more consciously. My grandfather introduced me to ABBA and Kenny Rogers and I’ve studied that music since I was five or six years old. I’d take a tape, go to my father’s car and listen to music – it was also a place for myself, an escape too.
I tried to understand what was going on in there that excited me so much. I wanted to understand the (music’s) secret. I never got bored and it still is my way to understand music – to listen obsessively to the same track.
That is one life-changing influence… Which other personal experiences stand out for you?
There’s a mindset that I learned when I was around 12 years old. I went to therapy to help me figure out what I wanted to do with my life! There was an exercise that really helped me and it was this: imagine that you are at a dinner party, surrounded by people you like. Suddenly, people start leaving. Which one do you wish would be the last to leave and just stay with you and no one else?
This exercise still helps me when I’m confused and ask: what do you really want to do? It has helped me to focus on music because I do it regardless of my circumstances and I find more comfort in it. I understand the sound of the music more than anything else.
When you look at your career and body of work, is there anything that is closer to your heart?
This is not easy for me to answer… When I’m working on something I really feel that’s the best I’ve done until that date because I’m evolving all the time.
Because I’m an independent musician, it means I don’t need to compromise; each work is a natural evolution. And so, I feel my latest album ‘Solo Olas’ (meaning ‘Just Waves’) is probably the best thing I have done – I learned a lot and realised many things I dreamed about such as collaborations and working with a production company for the video and a great label. I’m happy with the result.
What changed for you with Covid-19?
It’s a pity because we were ready to go on a tour with ‘Solo Olas’ and about to play at festivals. Covid-19 came and changed everything. I still hope to go out there and play with a new band I’m working with; I feel great playing with them – professional, nice people. I’m very happy with it and I hope to start over again and put the concert out. Having said that, I’m already working on a new album…
I’m used to being alone and working at home in my flat here in Madrid. It’s nothing new to me but the pandemic affected me emotionally, I’m more aware and worry about my family and friends. But I know we’re all living this.
Something that changed for me and I miss is that I used to go out every morning to have coffee, write a couple of pages in my diary and make illustrations.
I’d have this routine every day and only did it at bars, not at home. Since lockdown started, I’ve stopped writing and drawing – I lost my inspiration to do those things. I also miss the night, the music events and social activity, which is where I get my information from and inspiration too.
I also have a radio slot here in Radio 3, the most popular in Spain. I love it – I want to live in the radio! The radio segment, called “Latineando with Cineplexx”, is an informal chat about 1960s and 1970s musicians form Latin America. I talk about their stories; curiosities and play one of the songs live. I learn and get inspired by it.
I’m most active in the night but I have to wake up at 7am for this show so, sometimes I don’t event sleep… and my voice is better in the afternoon… It’s crazy but I love it.
What else are you doing to keep motivated and inspired during this time?
I suffer from insomnia and watching the sky is very relaxing to me – I even caught the Starlink train twice, which, at first, I thought were UFOs! But I have since developed this habit of spotting them. I’m also watching a lot of comedies.
Watch the full interview:
To learn more about Sebastian’s work, visit > cineplexx.net To listen to Latineando with Cineplexx visit the YouTube channel here.
Partly, this journalistic project The File Style is to be the voice for creative professionals in sharing their experiences in this period of lockdown.
On an honest video-call-conversation, Belgian Robbie Thielemans talks about his passion for sound and vision-innovation systems. He reveals his fashion choices and his thoughts about how Covid-19 pandemic killed the means for creativity.
Robbie and I are connections on LinkedIn. He reached out to thank me for a reaction on the DetaiLED Solutions post. More than ever, this network is the source, not to mention a call out for sharing of inspiring information and the best way to engage with creative professionals in such difficult times.
So, I asked straight away: How is it going with your creations in this time of lockdown?
Honestly, he answers: Very tough! Corona did not kill creativity, but it killed the means for it. Soon after, I arranged an interview to know more insights.
Robbie Thielemans is a creative professional working in the display industry for over 26 years. Electronics and technology were his most interesting subjects. His admiration for inventors and their ability to create new things boosted his mindset to become one, but after some years he realised there’s nothing magical about it, only hard work and lots of brainstorming. “The process is not magical, but the result can be magic!” – Robbie’s quote.
In 1998 when the first LED screens changed the world of entertainment, Robbie and his team were the creative mastermind behind it.
For years, he worked on projects and displays for the tours of famous artists such as U2, Robbie Williams and many others. As a high-tech visionary some of his creations we’ve seen on iconic events, like the Oscars.
Deeply frustrated about the governmental approach on the pandemic, he speaks his mind out: “Maybe, I’m too mathematical in my thinking, but the full approach on how it all happened was completely wrong and unbalanced. It hurts, the people and the economy!”
Creativity has no boundaries apart from financial means. “It’s very difficult now, without the financial means, to explain to people what the real idea is!” “Corona didn’t kill creativity but the means for it”.
Working as a creative consultant for the LED industry for almost three decades led him to have a strong reputation. He is recognised for his strength in turning ideas into a spectacle display with no delays. From his studio in Belgium, sometimes engaging family members in the assembling work, he develops teasers in an attempt to show his customers a prototype so that they make a budget for the project.
Robbie converses so spontaneously and deeply about his proud achievements and what is the reality for the professionals in the creative industry affected by the lockdown.
After such a deep conversation about the reality behind the screens in the present situation, to my surprise, the conversation turned to fashion by which he reveals his disappointment: “Men’s fashion is dull and not elegant, unlike female clothing. Wolford brand, for instance, “has a minimalist beauty in the design”, he says.
Intrinsically, he is proud of his designs and he has the same approach regarding his style. He wears brands that represent who he is, casual, sophisticated and minimalist.
As for the logo of his consultancy company, Stereyo, it also has a profound combination: the letters of his two sons and also the transition of the wings into a butterfly.
Behind the screens, Robbie Thielemans lights up a spectacle, his identity, outspoken views and feelings, and his concerns about the reality of professionals and businesses in the creative industry.
Singer Andria Antoniou has transformed the way she works. From performing virtual gigs and recording at home to launching a music video, we found out how she keeps creative and inspired during lockdown.
The first time I saw Andria Antoniou on stage, I was in awe. Emerging powerfully and yet delicately form a unsuspecting setting, her silk-like voice embraced us all in the small and intimate venue, making it an unforgettable experience – it felt like being inside a sensual musical bubble, if you can ever picture one.
The memory remained firmly secured in my mind and, as soon as we started The File Style project to document creatives during lockdown and discuss identity, inspiration and style, Andria was top of the list.
Born of a Cypriot father and Finnish/Swedish mother, the singer, musician and vocal coach grew up in a musical family – her sister and brother are also musicians. Starting with piano lessons at the age of six, she had a classical training and then gradually transitioned into modern styles of music.
Relocating to London a decade ago to study, Andria has made the Capital her home. It was in the UK that she further widened her styles taking up jazz and Latin: one occasion led to another and Andria is now a present artist in the Latin-jazz and Greek music scenes in London.
Diversity is a trademark in Andria’s work and she performs different styles in various languages including Spanish and Portuguese, which we can personally attest, she executes flawlessly. Intrigued by the story behind this rich repertoire, we discussed one of her creative experiences during a work trip to Cuba: “Cuba was a fascination of mine since I was a little girl. The Salsa dancing, the music, the cars, the cigars, the music… Everything… Going there and experiencing it in real life was perhaps the most memorable experience I’ve had in my life so far. It was amazing.”
The trip was part of a collaboration with Classico Latino, a project to record their album ‘Havana Classic’. There, Andria also worked with local Cuban musicians, which was the highlight of the trip: “Just seeing how they experience music, how they perform with their whole bodies – they’re so joyful when they play. They breathe in life and breath out all the struggles, the poverty and the difficulties that you can see in Cuba – it’s really apparent and you can see it. When I saw them performing, it became really clear to me that music was a way for them to survive. It’s their safety haven. Music was in every corner, people were dancing; and the architecture and colours brings this feeling of sweet nostalgia… It’s absolutely beautiful.”
Whilst the experience was woven into Andria’s tapestry, she moved on to form other collaborations and has since launched an album herself. “Encuentro”, a partnership with musician Roman Gomez, is every inch the sensual musical trip that we experienced live in that cosy London venue.
Of course, things are very different now and we can no longer enjoy live experiences for the time being. Bringing the topic to a reality now affecting all of us with the pandemic, we asked Andria how it has affected her work: “It has affected us in every possible way… All concerts are cancelled since March but, luckily, I’m able to teach online and have done so with the majority of my students.”
She has also innovated to deliver virtual concerts. Her very first was a pre-recorded performance exclusively broadcast to residents of a care home in London and there are a couple more in the pipeline. Making the most of her free time, Andria has expanded the ways in which to be creative: “Creatively, it has been a really active and productive period. There’s more time to do things.”
This includes finishing her very first music video for the song ‘La Negra’, part of the ‘Encuentro’ album. Filming took place in February, just before lockdown started: “We were so lucky we got that filmed then. With our creative team spread in different parts of the world – in Greece, the UK and Cyprus – we managed to make it happen. It was a completely new experience to me and I’m very happy with the result. It’s our first video clip and it happened under quarantine!”
Delving into research and acquiring new skills are now incorporated into Andria’s ‘new normal’: “To me, it was playing the guitar: I didn’t have the time before and I’m now working on it. Learning how to record at home is also something I’m learning with the help of one of my collaborators Pavlos Carvalho. We started doing some home recordings, released one and will release another in the next few weeks.”
Discussing the effects the pandemic has had in all of us and how she keeps herself motivated and inspired, Andria acknowledges that there are moments of ups and downs but she actively seeks elements that energise and inspire her: “For me what keeps me inspired is being close to nature, noticing the beauty around me. Beauty is perhaps the most important thing, though we may interpret it differently. It can be a beautiful painting or a beautiful song, a beautiful tree…
“Lately, I have become obsessed with vinyls. It’s a beautiful experience because you’re just sitting down, you don’t skip any track and listen to full albums from beginning to end, immersing in the mind of the artist. You don’t have the need to react to it as we do in the social media… You just sit there with your senses and enjoy the music. That’s really inspiring.
“I also believe in keeping yourself active, growing and learning are very important elements to being inspired. I believe identity and inspiration are connected. One feeds the other. So I think the more time we spend with ourselves, trying to be inspired, trying to understand what we feel we need as human beings, as artists, that leads us to being truer to ourselves and closer to our needs and our identity.”
Andria’s latest album ‘Encuentro’, in collaboration with Roman Gomez is now available to stream, download or buy. For more information and links, visit > andriaantoniou.com
As we ZOOM in, the image of a black-haired and enthusiastic woman appears on the screen.
Broadcasting was the start point of Sandra’s career in journalism, but fashion called because it was in her DNA. Her father was a tailor, her mother is very creative, and her sister is a fashion designer. Naturally, her career in fashion journalism started from 2006 onwards.
Writing for the creative industry within design, architecture, art, and fashion brought a broad insight into Sandra. She visited amazing venues. When we asked her to describe one place, she named Somerset House, her milestone of covering London Fashion Week. “It’s the place close to my heart”, she describes. She brought us into her head for memories of that day. When describing her experience at this event, she says: “It is all about being immersed in that environment and identity”.
“I LOVE OBJECTS, AND I LOVE BEING AROUND THINGS THAT INSPIRE ME,” SHE SAYS. WITH THOSE OBJECTS, A STORY IS TOLD WHICH COMPOSE HER IDENTITY.
Sandra is very careful with labels. Everyone can be an artist, a dancer or a fashionista if they have the opportunity. There is more than trends and collections, there is identity, and likes or dislikes.
TALKING ABOUT HER STYLE, SHE REFERS TO THINGS SUCH AS A MASK THAT BRING A MEMORY OF HER BIRTHDAY PARTY; AN ORIGINAL SUIT FROM THE NINETIES THAT SHE STILL WEARS NOW; A PAIR OF EARRINGS FROM THE MARKET IN OXFORD CITY.
(photos from Sandra’s archive)
After doing a disclaimer of this life-changing moment for the world and a time of reflection for herself. She says: “I’m more accepting and appreciative of who I am”.