Seven foot-tall pop artist Pandemonia , known for her love of plastic, her glossy blonde hair and sidekick Snowy the dog, has become a regular fixture at London fashion week and high profile events alike. The walking, talking, larger than life lady, is the creation of an anonymous London-born and based artist, designed to reflect 21st century culture and the glamorisation of ‘the celebrity’. If you don’t know her by now, you should. But how did it all begin?
“Since early 2000 there has been an enormous amount of coverage on celebrities in the media, I felt it would be good to create an art work that could be placed in the celebrity slot, one that could communicate and capture the public's attention. Pandemonia was perfected and ‘born’ in 2007”.
The living embodiment of a 21st century celebrity, and fake on almost every level, Pandemonia has become an icon of our times, a living artwork and entity “The initial idea was to create something that directly interfaced with the public, technological communication has completely changed in the last decade, Pandemonia is cross-platform, meaning she is designed to be experienced over a range of media platforms. Pandemonia exists in the real world outside of the gallery space”. If you’ve seen Pandemonia out and about, it is inevitably hard not to notice her. At fashion week, her mere presence at a show causes mayhem amongst photographers, clambering over one another desperate for a second of her attention, subsequently causing them to ignore other A-listers. “The press and public were captivated” she laughs. “They wish to engage with Pandemonia and capture the moment on camera. On one level you can take it purely as spectacle. On another you can see it as a mirror of the social event or a subtext to culture at large”.
What is perhaps most telling about the concept of Pandemonia is the fact she is female, clearly a considered point when she was created, “I wanted to make her female because in the public arena 90% of visual appeal is female. Females command more public interest and the female form is more appeasing to the naked eye. If you’re a visual artist it’s better to have something people like to look at. Both male and females like to look at the female form”. Boasting model proportions, Pandemonia is certainly something to look at. Clad in tighter-than-tight rubber and body con dresses, dark glasses and towering heels, it’s fair to assume she reflects what she sees in the modern world of the celebrity “Yes, Pandemonia mirrors the world” she agrees. “Images from adverts, newspapers and fashion designers around the world are interpreted into the Pandemonia style. As a figurative artist I use traditional methods of drawing and modeling in clay to develop each piece. Like a logo I always go for clean lines and strong colors. Pandemonia is designed to be seen and reproduced; the mediated Pandemonia experience is as relevant to seeing her first hand”.
Naturally the fact Pandemonia is both one of a kind, yet ubiquitous in society has created great interest in her, physicality aside. So was the plan all along to become a celebrity? “Yes. There are many persuaders out there. Pandemonia embodies the commercial ideas, forever young, shiny and new, she portrays the idealized image, one made from all the best parts. The celebrity machine is very much part of 21st century culture. It’s the most effective way of promoting ideas and concepts, it doesn't matter which end of it you are; everyone is affected by it”. Where Pandemonia is most at home, and most often seen by the fashion crowd is London Fashion Week, pictured on the front rows at PPQ and Belle Sauvage among others, it is perhaps the perfect environment for the concept to work. “I always look forward to seeing new creative ideas on the runway. PPQ is one I keep an eye on as well as Fred Butler. From right across the board though, Elsa Schiaparelli, Isabel Toledo and Vivienne Westwood are favourites. They dispense themes and theatrics and let the work speak for itself”.
In terms of parties and socialising, it’s only the best and most exclusive for Pandemonia, “In previous seasons I’ve had fun at Pam Hogg, Acne and Joe Corrie's parties, but the great thing about the London scene is it’s so diverse. High tea at Sketch, The Arch hotel for Pandemonia cocktails - yes, I have a cocktail named after me! You can find it under tall and slender!” she laughs.
It turns out, for Pandemonia, cocktails are just the start of it. As with many celebrities, branding and self-promotion is a crucial cog in the machine, “there are several projects in the pipe line, the first, a fine art print show, followed by a sculpture show. After that, I’d like to develop a product range. Imagine a whole product range relating to Pandemonia art, retailed through museums, art galleries and supermarkets” she enthuses.
For most, Pandemonia is perceived as a fun and flamboyant figure with a tongue-in-cheek take on the world of fashion, but behind it all lays a very clever concept and an artist perpetuating a real influence in fashion and popular culture, however subconscious it may be. “The Pandemonia influence is far and wide” she tells me. “Having one’s image reproduced in the media means Pandemonia is seeping into the public's consciousness. It’s no mistake her image photographs well, from camera phone she transfers easily to Facebook and beyond. There are Pandemonia fans all around the world”. “On another level, as a conceptual artist Pandemonia reflects our present times with a wry smile. Being a celebrity “role model” she has the ability to make us look at ourselves”.
Role model, artist, celebrity, whatever you want to call her, there’s no denying Pandemonia is one of the most talked about figures in fashion right now, and we can’t wait to see what she does next.
Pandemonia and Snowy's London Fashion Week began with them being filmed, for A The a Day in The Life of P&S, by Crane TV.
Their starting point was at the fabulously chic 5 star, Montcalm Hotel, 34-40 Great Cumberland Place, W1, and then a stroll along Oxford Street, to see Selfridges windows.
The next day, Pandemonia and Snowy headed to Vauxhall Fashion Scout at the Freemasons Hall, Great Queen Street, for Fam Irovoll fashion show.
Fam whimsical nursery tale of google eyed monsters, in pastel coloured baggy knits, leggings, baby doll dresses and printed brothel creeper's.
Post show Pandemonia & Snowy encountered LA's new rock band "Early Morning Rebel" ranked by Cosmopolitan magazine as the new IT band, these guys railroaded P&S into coming to their gig that night at Roof-gardens. Snowy was delighted to go, knowing there was a huge garden if he got caught short.
P&S then dashed home to change into her vivid yellow outfit and then traveled, to Sumerset House, for PPQ show at British Fashion Council show space.
On route, in the courtyard P&S got hood winked into giving a sound bite to Fashion TV and then breezed inside.
On the front row, Pandemonia was snapped and tweeted by Hilary Alexander from the Telegraph.
Followed up, by a quick how-do-you-do with the Lord Mayor of Westminster Susie Burbridge, proceeded by a quick chat with Jameela Jamil.
Jameela divulged to P, I'm not only presenting on TV, I'm also working at BBC on the radio and enjoying that to".
Seated, PPQ show took a grown-up turn, with emphasis on 50's hollywood glamour, with their full length skirts, mid-length draped chiffon dresses that were cinched in at the waist on models with cascading tresses, a vision Pandemonia felt akin to.
In the scrum to leave P chatted with Joe Wood and party princess Zoe Griffin. Jo let it slip, "I've worn my best a pair of leather trousers", the sight of all that leather, sent Snowy howling.
Later, Pandemonia & Snowy joined Arieta Mujay and the rest of the River Island team for the launch of a brand new initiative FASH/ON FILM sponsored by River Island staged at foyer of BFC space. P&S hooked up Fiona Mcham and Catherine Hudsan from Junior magazine for a tipple.
Time was speeding on and it P&S said their goodbye's, to Roberta Resta and her pal Catherine Zangranodo, to rush across to TRG for the rock show.
Outside in the shadows of the BFC ramp walkway, Pandemonia a Snowy literally stepped into a bunch of knee high punk infants. The sight of which gave Snowy cause for concern, until a relative of their's stepped up and asked to take picture of P&S with modern day brat pack.
P&S hopped a cab to the The Roof Gardens for EMR performance. Where in the RG-VIP room Pandemonia caught up with singer/song writer Stacy Jackson to discover Stacey is releasing a new single "Is This Love" after her on whistle stop tour of the USA withThe Soushaker and eSquire remixes of 'Live it Up' ft collaboration with Snoop Dogg.
From one hot gal to another, Made in Chelsea TV star, Gabriella Ellis. Snowy thought, Gab looked fully recovered from being dumped fellow star Ollie Locke and ready to take up a new challenge, could it be S mused, the new lumbering hunk of Hollyoaks TV series, the ex Neighbour's soap star Dan O'Connor, S says watch this space.
An equally devilishly handsome singer/performer Angelo, used all his charms to coerce Pandemonia and Snowy to agree, to attend his act on Monday night at Freedom Bar, Soho.
Pandemonia and Snowy left Angelo for home, to check their email responses to P art work on "Pushing the Envelope" a charity auction between 12th and 22nd March 2012 to help raise money for the National Literacy Trust. And get some sleep, not wanting to have any bags under their eyes for rest of London Fashion Week shows.
After good nights rest and full of the joys of Spring, Pandemonia and Snowy made tracks for Bernard Chandran show at VFS and was seated opposite Keisha Buchanan a former Sugerbabes.
Bernard ran his models out with elaborate hair do's, in large neck pieces with overlapping Peter Pan collars, wider ankle trousers with 15cm cuffs.
A Silk dress with diagonal zip and harlequin diamond shaped pockets, to simple short or mid calf length shift dresses, over a fine gauge polo neck sweater, with naked silver zip running down the back-a current on trend detail, in silver grey, jet black and Royal blue.
Show over, Tina Barrett the ex S Club 7 babe raced across to expound that Pandemonia is amazing.
P was still blushing from TB, as P&S bundled into a cab for Goldsmith Hall, for Ashley Isham show.
While Pandemonia settled Snowy on her lap, Charlene Jumbo, the creative director of Cakes&Tarts, parked herself next to them and produced a C&T colour co-ordinated cup-cake, one that matched Pandemonia's garb. P love it.
Ashley's lights went down and he rolled out a collection of garments, in leather, jersey, lace, metallics and floral prints in some subtle gold, teal and grey. Tailored suits that's leather piping gave definition line and floor length draped dresses in silk jersey.
On the exit stairway landing, Pandemonia and Snowy came face to face, with some of Mr Isham's luscious models and took this opportunity to congratulated them keeping the elegant vibe rolling, throughout the show. They said "is was easy", gave Snowy a hug and then they skedaddled.
By midday, the following day, Pandemonia and Snowy were in need of sustenance, so they rendezvoused with Cristina Polizzi, Shelley Pick and 55 TV crew at Cafe Bar, 136 Strand, WC2R 1HH.
While sipping a cup of tea, P&S were pleasantly distracted by luxury fashion designer Nadja Solovieva. Nadja said "I'm delighted to find someone who as tall as me and snuggled up to P.
Fortified, P&S made it to The Italian Cultural Institute, for Vogue Italia's presentation, of up-and-coming young professionals.
The first of this new breed of fashion designers exhibiting, Pandemonia and Snowy encountered, were Antonio Romano and Francesco Alagna from the label "Come for Breakfast". Their collection of separates for guys/girls, was in spiderweb lightweight knitwear, double wool crepe, silk organza and the prints-that were inspired by urban street life and billboards. Surrounded by all of these tactile, soft fabric's, Snowy wanted to immerse himself in them & have a snooze.
Over at the next show space was for Tomaso Anfossi and Francesco Ferrari, the faces behind Co|Te. For P&S, their tale, was of clean cuts, simple shapes, in sky blues, stark whites, vivid orange and dove grey and T&A sleeveless shirt dress with a ballon print, was lovely, but Pandemonia surmised this collection was more suited for Mediterranean cruise, than tramping Camden Town in A/W.
Pandemonia and Snowy were then drawn to the lively stand of Caterina Gatta, the Rome based designer. Caterina spends her days, sourcing vintage colourful designer fabric's from Versace, Yves Saint Laurent, Pierre Cardin, etc and turns these redundant textiles into her fashion statement garments. And what bold ones they were, almost as bold as Ms Gatta, who once she got he mitts on Snowy, she fell under his spell.
So much so, that Pandemonia had to prize Snowy away Ms G and then resume tagging along the trail of Director of Vogue Italia Franca Sozzani. Franca looked equally surprised to find them there, since, at this moment in time, most of London's style figures were racing to the Burberry Prosum show.
From one fashion icon, to two of the best, and Pandemonia & Snowy favourite's, Martine Hadida and her daughter, owners of of l'eclaireur, one of the finest fashion/lifestyle store group's in Paris. After giving P&S a squeeze and air kiss, the Hadida's were off, like bats out of hell, to their next appointment.
Another of P&S pals taking in the Italian show, was Israeli socialite Hofit Golan. Pandemonia was in deep conversation with Ms Golan and about to quiz her on what fabulous dress she was going to wear to Elton John's Oscar 2012 party.
P was interrupted, when Snowy got harmless bump, by "A-Lab label" model, as she forged her way through the assembled crowd, back to her stand and A-Lab designers Alessandro Biasi and Simona Betterelli.
P&S thread was lost and they headed to see designer Nicholas Julitta. Old Nick, is known for his experiments, in morphing into coats, bomber jackets, clothing and knitwear items, made out of padded Nylon and polyester, wool and cotton, that he fades to black and orange, that Mr Julitta thinks, work like "organic" surface. Snowy pulled away, when NJ eye fixed on his old dog collar, fearing might be commandeered and wind up in his next recycled collection.
As P&S ambled by Salar stand, the designers Francesca Monaco and Salar Bicheranloo, who were captivated by Shelley Pick from the New York Fashion Calendar. Shelley was angling to purchase one of Salar luxury zip handbags, only duty called and Shelly had to give her American Express card a rest and hop it for next show.
Pandemonia & Snowy, found their amico, Carlo Presenti, Director of The Italian Cultural Institute, to thank him for todays invite and kiss T the LA/New York Model, before high tailing it back to VFS for Prose show.
At Prose, Pandemonia exchanged a few words with Tallulah Adeyemi. Tallulah told P, I've been so busy, I even missed Vivienne Westwoods show. Snowy sifted through the VIP goodie bag and drew P attention to the Body Shop array of cosmetic products, in next seasons A/W colours, just before Miriam Lehle, fashion designer of Prose, flagged up her seasons signature.
ML wardrobe staples, were shredded-like tops and jackets, laddered knits, in dark navy, beige, yellow and tangerine, P left feeling elated at seeing more colour for winter.
This was homage to mono chrome set, added to which, the models hair was pulled through a 8cm high silver tubular head piece, so the runway resembled a startrek-all female crew. And for the gals evening gown, a breast plate that resembled a shattered-mirror, and a finale that ended with a firework explosion of silver foil squares, this jared poor Snowy's nervous.
Luckily for Snowy, Maurice Mullen from Evening Standard and Elaine Mensah from Svelte-Emc were on hand comforted him.
Pandemonia felt it was all a bit to much for Snowy, on school night to, so took S home for early night rest.
Tuesday morning 11.45 Pandemonia and Snowy returned to Sumerset House, where in Court yard, Pandemonia whiled away the morning, signing copies of 55pages 55 Factory TV Magazine.
Signing over,it was time to go home, change and return to SSH for the KTZ show.
Pre KTZ, Pandemonia and Snowy were hopping in & out of their seats, to catch up with this seasons partner in crime, Christopher George of 55 Factory TV. Chris and P&S accompanied him, at chewing the fat with Rochelle Wiseman of the Saturdays.
Pleasantries over, next up, was P&S glamours playmate, the adorable Lizzie Cundy in her low cut, body con red dress, one that had M8 security men wishing they were employed in fashion.
Then back to their perch's, the shows music pumped out in time with the various permutations of tartan, either in black & White, Red or Yellow with black, in frock coats, jackets, shirts, kilts, trousers and shoes. A vision that would make Vivienne Westwood proud with it's modern execution. Then another equally comprehensive narrative using white on black motif's, these snaked their way from cap to footwear. At no point did the show let up, the music & the clothes were in sync. KTZ delivery was reminiscent of a Westwood, Boy London and Patricia Field high energy catwalk shows. One that held Pandemonia and Snowy attention throughout. As P&S vanished into the night, with their feet tapping to the previous shows beat, they snuggled up and minds drifted over their LFW and what a great one it was.
The Auction is from the 12th to the 22nd March 2012
Entering its seventh year in 2012, the Pitney Bowes Pushing the Envelope campaign is looking to build on the success of previous years and gain support from a broad range of personalities - we've been supported by Fearne Cotton, Kate Winslet, Stephen Fry and Damien Hirst in the past. As in previous years, this is a unique chance for the public to own an original design from favourite celebrities or artists. This year our theme is 'Inspiration' and the designs by our famous supporters will reflect this. The finished artworks will be auctioned in March 2012 and all funds raised from the auction will be donated to the National Literacy Trust.
The smell of latex fills the air as a leggy blonde teeters towards you on sky-high heels. Dark glasses shade her eyes, a small dog is nestled under her arm. All around cameras snap away.
You'd be forgiven for thinking that this was just another socialite with a taste for kink. In fact neither her, nor her dog Snowy, are real. Confused? So are most people. Crane.tv meets Pandemonia, a latex-clad post-pop performance artist whose image was created to act as a living commentary on the cult of celebrity.
Pandemonia first grabbed media attention when she attended a Tracey Emin show at The White Cube Gallery in 2009. She has gone from crashing high-profile parties and fashion shows to being formally invited and often sitting on the coveted front row. Her picture is constantly being taken. By making her image real the media has validated a parody on itself. Who better to act as the embodiment of cultural commentary in a society that revolves around celebrity than a 7ft plastic blonde?
"OK" by Pandemonia
There is more than a nod to fetish as her outfits, or 'art creations', are entirely made from rubber, chosen for its shiny unreal properties. These political expressions that point to a manufactured ideal, hide the identity of the artist underneath. Pandemonia has become an entity unto herself, a phenomenon whose fate is now firmly out of its creator's hands, and should therefore never be coloured by a relationship to a mere mortal. It seems the mystery will continue until we are no longer interested.
Text by Angelica Pursley for Crane.tv
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