Lui Nemeth
東京出身、ロンドンに在住。アートをCentral Saint Martins で学び、3年間STREET MAGAZINEのPHOTOGRAPHERとして活躍。卒業後 セレクトショップ/ギャラリー Primitive London をオープン。

Andrew Green
オーストラリア出身のアクセサリーデザイナー。2007年、Torso Corso というアクセサリーレーブルを立ち上げ、Candy や ilil などにストックされる。日本に1年半ほど住んだ後、現在ロンドンに移動し、2011年 セレクトショップ /ギャラリーPrimitive London をオープン。


新しくなったPRIMITIVE のウェブサイトがプロジェクトウェブサイトとして誕生!

↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓


↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓↓ ↓


チェンジファッションのパーティーページで13日の夜行われた WEBSITE LAUNCH イベントが紹介されています。

こちらから :)


Primitive, as its name intimates, is inherently raw. Like an embryonic form that is yet to be defined, Primitive is a fluid entity open to interpretation. An omnium-gatherum of artists, designers, writers, and musicians, working together, blending different media and disciplines to produce innovative creations are the fundamentals of Primitive London.

Creativity today is too often expected to join forces with commerce, marketed and capitalised on, paradoxically resulting in its being controlled and restricted. It was through this dissatisfaction and disillusionment of the bureaucracy of the creative industries that Primitive was born. Primitive does not operate as a business. The focus is on production, not profit. Primitive was set up to provide a platform free of constraints, on which creativity is given the time and space to fearlessly grow and be experimented with. Whether this is creating something out of nothing utilising found objects, or employing the latest technology – it is the pure act and desire to create which underpins the Primitive ethos. Thus it is not about reaching the finality of perfection in practice or production but to keep on pushing.

An espalier of trenchant lines, its angularity suggesting a sense of control, restriction and obduracy: the Primitive logo is a searing, minacious symbol. Emblems – often those political or religious – possess the capability to arouse fear, representing authority, evoking militancy. However, Primitive’s mission is not to preach or provide utopian ideologies. Primitive aims to vehemently encourage and promulgate freedom, independence and originality in creative thinking and practice: the logo thus symbolises the bellicosity with which Primitive is prepared to implement this objective.

The contrast of Primitive’s fluid disposition with the severity of the logo, alongside its being fundamentally anti-corporate yet giving the impression of a corporation, demonstrates an irony that is conducive to being able to enjoy what is taken seriously. Central to Primitive is to take delight in the process and activity of creativity, not to see it as a chore of having to work towards strict deadlines and pleasing authoritative figures.

London – the centre of the Youthquake, the birthplace of Punk and the DIY ethic, the flag-bearer for innovatory fashions and the embracing of multiculturalism – has greatly informed Primitive’s identity. However, mired down by the commercial bastardisation and elitism of creativity today, London is losing the freshness and originality that came to define it. So to recapture and preserve this former spirit, Primitive seeks to encourage and provide the opportunity for young, emerging – as well as established – talent from around the globe to showcase work in this celebrated city, as well as worldwide online.

Coalescing like-minded souls of disparate practices and disciplines, the common thread that binds the individuals that make up Primitive London is an innocent love for making, enjoying it, and being unafraid to do this with each other. Collaborative practice is integral to Primitive as experimental synthesis is propitious to the creation of revolutionary and spectacular ideas. Primitive is a community, with every single contributor and contribution helping to define the heterogeneous idiom of Primitive London. In the information society we now live in where knowledge and theory is increasingly being fetishised, so relegating creative practice to the sidelines, Primitive is a level and unbiased platform on which to reassess creativity and meaning within the chaos of the digital age.

By Mairi Hare

Comments are closed.