John Skelton - Working for the Man

 

I work for a brute. A brother 6 years my senior. I hope you understand the implications that come with working for an older sibling.

There is no threshold when it comes to criticism.

And frankly I respect this and have learnt since 2014 the enriching growth that can come when honesty is the main policy.

My line of work involves a deep forensic search into research for each collection. But it’s not about gathering a shit load of photography from the 19th century and updating it fro the 21st.

John’s line of focus is how we can radicalise sustainable design - both pushing the boundaries of re-using materials, lowering waste and above all forcefully being an activist for slow fashion.

But also making clothes that energise and stimulate the senses.

We are are currently in a period of over stimulation and over consumption of content because of the internet's hunger for more - this greed felt especially in the fashion industry - so the need to really analyse why bother in even ever making clothes and publishing them to the public is vital.

For fashion has become parallel to the food industry. The unlimited appetite for more product is severally damaging our planet due to that many hungry customers paying ridiculous figures both for high street fashion that mark up price is too low for its product and luxury fashion that is priced too high for its quality and content.

Hence where my role as the younger brother slots in. Both myself and John gather the meat of research for each collection. We both have a shared interest in the social political of our motherland - England - and have a much deeper passion for discovering fashion and clothing that stems more so from working class communities of the different centuries.

Then comes the picking and fine tune plucking of our carcass of research. We draw out key research and ask why we want to respond to the research we have found. How can we create a honest response to this visual information of photographs and text that we have hunted.

Throughout the year between each collection I have developed a third eye for casting men to model in each show. Again I aim to be sincere in my casting. 

I am naturally more of an introvert than extrovert - so I make considerate choices when I approach an individual in public. 

But the enriching process of bringing a stranger into mine and my brothers world through this aid of casting is a mighty positive one. Likewise the connections we develop and nurture with what could be forever strangers - but now collaborators in a sense as models - is fabulous for the soul.

Finally my signature skill in life it seems is how I use a film camera. 

John has sought exclusively my chosen occupation in order to photograph all aspects of his business - from lookbook’s of each collection to abstract interpretations of his collections.

I endeavour to create visual content that communicates the ardent ethics of John’s brand and stimulates the viewer of such imagery.