RAVEN- Skate

‘Wild Spirit’

Raven is an alternative woman’s skate brand that is designed for dreamers, the wild at heart & the misfits of the world.

Art & beauty make our existences bearable, so dare to be different, stand out with style!

Our skate designs are handcrafted by our artisans giving each piece a unique & one of a kind appeal just like you, so why not leave your mark upon the world.

At RAVEN our artisans travel the globe to bring back unique fabrics, jewellery, cultural pieces & motifs to create our upcycled one off pieces. All our boards, clothing & accessories are pieces are made from 90% recyclable materials. We have a sharp eye for old forgotten treasures that we reinvent & give them new life.

RAVEN was born with the idea to promote & focus on the creative & meaningful side of skateboarding, while offering the best products available. Our mission is to inspire young women to follow their own path and to find a different perspective from the old standard.

RAVEN lets you express yourself without speaking, because what you wear evokes a statement of what you feel!



william morris

William Morris (24 March 1834 – 3 October 1896) was an English textile designer, artist, writer, and socialist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement.

He was the son of a successful businessman, was born in Walthamstow, a quiet village east of London. After successfully investing in a copper mine, William’s father was able to purchase Woodford Hall, a large estate on the edge of Epping Forest, in 1840.


Morris was educated at Marborough and Exeter College. At Oxford University Morris met Edward Burne-Jones and Dante Gabriel Rossetti. The three men were all artists and formed a group called the Brotherhood. Soon the group included more members such as the architect Philip Webb and Ford Madox Brown. Morris, Marshall, Faulkener & Co and specialized in producing stained glass, carving, furniture, wallpaper, carpets and tapestries. During this period their work was inspired by the history, ritual and architecture of the Medieval period. Morris and Burne-Jones were committed Anglicans and for a time they talked of taking part in a “crusade and holy warfare” against the art and culture of their own time. Their commissions included the Red House in Upton (1859), the Armoury and Tapestry Room in St. James’s Palace (1866) and the Dining Room in the Victoria and Albert Museum (1867). In 1875 the partnership came to an end and Morris formed a new business called Morris & Company.


Morris wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. His best-known works include The Defence of Guenevere and Other Poems (1858), The Earthly Paradise (1868–1870), A Dream of John Ball (1888) and the utopian News from Nowhere (1890). As an author, illustrator and medievalist, he helped to establish the modern fantasy genre, and was a direct influence on postwar authors such as J. R. R. Tolkien. He was also a major contributor to reviving traditional textile arts and methods of production, and one of the founders of the Society for the Protection of Ancient Buildings, now a statutory element in the preservation of historic buildings in the UK.

William Morris fabric

He was an important figure in the emergence of socialism in Britain, founding the Socialist League in 1884, but breaking with that organization over goals and methods by the end of the decade. He devoted much of the rest of his life to the Kelmscott Press, which he founded in 1891. The 1896 Kelmscott edition of the Works of Geoffrey Chaucer is considered a masterpiece of book design.


A quote from William Morris:  ‘I determined to do no less than to transform the world with Beauty. If I have succeeded in some small way, if only in one small corner of the world, amongst the men and women I love, then I shall count myself blessed, and blessed, and blessed, and the work goes on…’







POST 5: FASHION DESIGNER- Jean Paul Gaultier


Jean Paul Gaultier is a French designer, best known for his eponymous design house and his seven-year tenure as head designer at Hermès.

He was born on April 24, 1952 in Arcueil, Val-de-Marne, France.

Not interested in sports or any of the usual childhood pleasures, he was a prodigy when it came to fashion design.

The only child of a bookkeeper and a cashier, Jean Paul Gaultier developed a taste for fashion at a young age. He spent much of his childhood with his maternal grandmother, and found inspiration in her closet – her corsets in particular fascinated him. He even once made a bra for a stuffed bear – a childhood artifact that was featured later in an exhibition of his work.

At only 13 years old, Gaultier came up with designs for his grandmother and his mother. He loved fashion magazines and kept up with the latest designers. And like the top designers, Gaultier began to develop his own collections.


When he reached the age of 17, he boldly sent his design sketches to Paris designer Pierre Cardin. Cardin appreciated his talents enough to hire the young man as design assistant. Gaultier worked for Cardin for two years. He then spent a year designing for Jacques Esterel before joining the House of Patou in Paris, working with designers Angelo Tarlazzi and Michael Goma for three years.


In 1976, Gaultier established his own fashion label and held his first runway show in Paris. He opened his business with the assistance of his significant other, Francis Menuge, and together they helped establish the Jean Paul Gaultier brand. Gaultier received later financial backing from Kashiyama, a Japanese clothing company.

Before long, Gaultier became known as the bad boy of the fashion world.

He challenged popular notions of gender and drew from edgy street and punk influences. One early look he created for women involved mixing a tough leather jacket with a crinoline skirt with sneakers. Gaultier put undergarments front center with his corset dresses, which debuted in 1983. Two years later unveiled his skirts for men, another effort by the designer to subvert gender stereotypes. He also defied expectations with his runway shows, developing a reputation for over-the-top spectacles. Often wearing his trademark kilt and Breton striped-sweater, Gaultier quickly became one of fashion’s most high-profile figures.


In 1990, Gaultier suffered a personal and professional loss when his partner Francis Menuge died of AIDS. Gaultier didn’t succumb to the setback, though. That same year he created one of his signature looks that the same year as the costume designer for Madonna’s Blond Ambition Tour. In January 1992, he published a largely pictorial biography called A nous deux la mode. In the same year he introduced Gaultier Jeans, as well as accessories and perfumes. The following year he launched his signature scent in a glass bottle shaped like a corseted figure. He has designed the wardrobe of a number motion pictures, including Luc Besson’s The Fifth Element, Pedro Almodóvar’s Kika, Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover, and Jean-Pierre Jeunet’s The City of Lost Children.


Gaultier was appointed Diet Coke’s new creative director in March 2012. His role involved providing creative input into company’s advertising campaigns, retail events and new online projects, as well as designing limited-edition bottles. He followed in the footsteps of Karl Lagerfeld, Matthew Williamson, Gianfranco Ferre, Marni and Roberto Cavalli who had also created new bottle designs for Diet Coke.


Famous Quotes:

‘Doing fashion drawings was the only way I had to express myself when I was a teenager.’

‘When I started in fashion, I had already adopted the sailor-striped sweater as my uniform; that way, I wouldn’t have to drive myself crazy trying to figure out what to wear.’

‘When I do my collection, it is in a way my own story.’  




















Colleen Atwood is an Academy Award-winning American costume designer.

Born in 1948 in Yakima, Washington, USA, she studied painting at the Cornish College of Arts in Seattle, Washington in the early 1970s, and later worked in retail at various places, including the Yves St. Laurent boutique.


‘Snow White & the Huntsman’

Atwood began her career as a fashion adviser in Washington State in the early 1970s.

She then moved to New York in 1980, where she studied art at New York University.

Her movie career began with a chance encounter with someone whose mother was designing the sets for the film Ragtime, and she got the job of a production assistant in the film. She continued to work as an assistant to costume designers and eventually earned her first film credit for the movie A little Sex directed by Bruce Paltrow.


‘Alice in Wonderland’

Soon later she entered into the world of costume design for theater and film, and finding her fame through her work on Sting’s Bring on the Night world tour, which was also made into a documentary. An important turning point in her career came when, through the production designer who she had worked with in the movie Joe Versus the Volcano, she met the director Tim Burton. Atwood and Burton then worked together on seven films over the next two decades. These films included Edward Scissorhands, Sleepy Hollow, Ed Wood, Big Fish, Planet of the Apes, Sweeney Todd and Alice in Wonderland.

Atwood has been involved in designing and producing costumes for up to 50 films to date. She has also been the lead costume designer for Ringling Bros and Barnum & Bailey Circus.

Colleen has been nominated for an Academy award for Best Costume Design ten times and won Academy Awards for the movies Chicago in 2002, Memoirs of a Geshia in 2006, and Alice in Wonderland in 2011. Atwood has collaborated several times with directors Tim Burton, Rob Marshall and Jonathan Demme.


‘Snow White & the Huntsman’

Some of her most well known quotes are:

‘Costumes are the first impression that you have of the character before they open their mouth-it really does establish who they are.’

‘As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they’ll have to do all kinds of things.’

‘Every costume had a feeling of not quite what it seems. In a way, these dresses were like torture devices for Ravenna. I love that because I feel like Ravenna was, in a way, more tortuous toward herself than to the people she was killing.’ (Snow White and the Huntsman.)










Laura Laine is a Helsinki based illustrator.

Born in Finland in 1983.

She studied fashion design at the University of Art & Design Helsinki and

after completing her studies became a full-time freelance illustrator & teacher.


Her charming ethereal illustrations are predominantly hand drawn in black and white giving them a dark but hauntingly beautiful feeling.

They have an eccentric flavour, with burtonesque figures in twisted body positions that give a sense of motion with their flowing tendrils of lavish hair.


The detailed fine work is achieved by using a combination of pencils, inks & markers and the final touches are applied in photoshop.


Laura Laine has created many drawings for magazine advertisements such as:

GQ, Elle girl, The New Yorker, NY times magazine, Pap magazine, The Guardian, Vogue Japan & Germany, Sephora and some of clients include: Zara, Tommy Hilfiger, H & M, Iben Hoej, Daniel Palillo, and Escada.

Laura has also exhibited in London, New York, San Francisco, Los Angeles & Helsinki.


To sum up how she describes her own style:

“My drawing style is something I’m not so conscious about, I just do what I feel like at the moment.’”

“For me the most important ingredient for being a fashion illustrator is a sense of wonder.”









POST 2: Sitting Pretty 20th Century Chairs: Tom Dixon – lily


Is a self-taught British designer specialised in welded salvage furniture.

He was born in Sfax, Tunisia in 1959. Dixon was brought to England at the age of 4 and grew up in London. After dropping out of art school in 1980, he played bass guitar in the band Funkapolitan and organised warehouse parties, before teaching himself welding.


As an autodidact (self taught) he got into the design business when he was 20 years old, and organised events for the english party scene before creating his first objects at the age of 25, becoming one of the most talked-about avant-garde designers.

Tom Dixon fell into design by accident when he found himself with lots of time on his hands while recovering from a motorcycle accident. As an art school drop-out with no technical training, he taught himself how to become a designer-maker in 1983 after discovering welding when trying to repair his motorbike.


Dixon’s D-I-Y approach to design matched the post-punk mood of the early 1980s. Having made his name by making and selling limited editions of his welded furniture. Chairs such as the S Chair and Pylon Chair he started to sell through his own shop, and then started to manufacture through the company Eurolounge which produced his work and that of other designers, like Michael Young.


In 1991 he founded his own studio ‘space’ and launched ‘Eurolounge’, a series of
multifunctional furnishing items. In this time period he produced numerous exhibitions on
‘creative recycling’ and experiments with unusual materials.
He also designed objects and interiors for Terence Conran, Jean Paul Gaultier, Romeo Gigli, Ralph Lauren and Vivienne Westwood.
His work is part of the collection of world’s leading museums as the Boston museum
of fine art, the London design museum, the centre Pompidou in Paris, the Moma in New
York, the museum of modern art in Tokyo, the Victorian & Albert museum and the Vitra
museum in Basle.


Dixon continued his collaborations with other designers in his “first proper job” as head of design at Habitat, where he has reissued archive designs by Verner Panton, Ettore Sottsass and Robin Day as well as commissioning new pieces from Ronan and Erwan Bouroullec, Ineke Hans and Marc Newson. He continues to initiate new projects as an independent designer and as creative director of Artek, the Finnish furniture manufacturer founded by the architect Alvar Aalto in the 1930s.

“A kind friend once described me as a ‘vertebrate designer’,” Dixon said.

“That means that I design from the bones outwards and am not really interested in surface.”






POST 1: Subculture: Elegant Gothic Aristocrat- lily


Is a subset of the Lolita fashion also referred to as EGA.

The style imitates the mature decadence of the late Neogothic era, with emphasis on elegance & simplicity. The idea is to dress in a manner that captures a certain old-world class blended with modern, gothic sensibilities.

This term & style of fashion was originally coined by fashion designer MANA, former band leader of ‘Malice Mizer’. EGA became popular in the Japanese fashion streets in the late 1990’s when Mana’s onstage rock-idol attire spread among his fans. His clothing designs can be found in his online shop ‘Moi-meme-moitie’.


Many EGA designs derive from a basic suit silhouette with eccentric Victorian inspired elements such as top hats, cravats, bustles, platform shoes with accessories such as gloves, waistcoats, stockings, bows & conspicuous pocket books.

It is an androgynous style mainly consisting of black & white, or darker colours, which capture a more elegant & mature look.


The Lolita fashion has evolved into several different sub styles and has a subculture that is present in many parts of the world. Elegant Gothic Aristocrat is considered to be the male counterpart of the Gothic Loilta, which is influenced from the Rococo period, and is characterized by darker make-up and clothing with the focus being on cross jewellery, religious symbols, bags and purses in shapes like bats, coffins, and crucifixes.


The female version of Aristocrat is referred to as Madam, and is more influenced by 19th century fashion. The fashion includes, dresses with feminine but not usually frilly styling in a variety of colours. Makeup, when worn, is usually mature and on the slightly heavier side, though not excessive.

In my conclusion the highlight in EGA is elegance and is often associated with vampires and an old-worldly upper class.