From Raf Simons to Virgil Abloh, we talk about the resonance of the North with Lou Stoppard and Adam Murray ahead of their new exhibition

How do you imagine the general public’s perception of the North to be, with regards to fashion and visual culture?

AM – I think it will be varied.  Some people will have a very developed knowledge and understanding, others may know some of the bigger names or more iconic points of reference, others may not have even really thought about it.  What Lou and I are trying to do with this show is raise questions with an audience for reflection and discussion, rather than providing answers.

LS: During our research into the exhibition, Adam and I have spent a lot of time discussing how the North of England is a bit like Paris or Rio, even if you haven’t been there before you have an idea of what it’s like – the architecture, the smells, the streets. I do think people have certain images in their head of the region – often they relate to elements of working class culture, youth culture or very masculine pursuits like football. I think the region does mean different things to different people. To some it’s encapsulated in key bands or icons and their output, to others it’s to do with style and fashion moments such as casual culture, for others it could be nostalgia for a past time. In different ways, all those distinct themes are explored within the show.

"Adam and I have spent a lot of time discussing how the North of England is a bit like Paris or Rio, even if you haven't been there before you have an idea of what it's like - the architecture, the smells, the streets."

Is there anybody’s work in the exhibition that you think challenges what people might expect to see in an exhibition about the North of England?

AM – John Skelton is an early career designer whose work is closely informed by the heritage of the region, but employs very different reference points to other designers in the show.  Most of the work that takes historical references looks at quite recent history, but John spent time engaging with the Mass Observation archive, which was produced mainly in the 1930s.  There’s a real nice juxtaposition between the silhouette and aesthetic of his collection when placed by the equally interesting, but very different, style of work from designers such as Christopher Shannon or Raf Simons.

LS: I’m proud of the international scope of the show. I think that highlights how relevant and significant the North and its output is. To have designers such as Raf Simons and Virgil Abloh in there is fantastic – it also opens up interesting questions. why does a designer from Antwerp identify so much with the graphics, style and community of the Madchester years, or the different youth tribes of the North’s history? For A/W 2003 he did a whole collection based on Peter Saville, the graphic designer behind Factory Records, and for S/S 2016 his inspiration was Mark Leckey – there are garments from both of these in the show. Similarly, why does Chicago born designer Virgil Abloh adore the Hacienda, despite growing up miles and miles away? I think his and Simons’ interest, and the acclaimed work they have done inspired by the region, will help people understand the global significance of the North’s output.

The exhibition will feature work from Virgil Abloh and Ben Kelley, why do you think international creatives look to the north of England for inspiration?

LS: I think it’s for a myriad of reasons. For some it’s probably nostalgia for their own youth or pivotal times in their life – so many designers or image-makers return to the things that shaped them during their youth when making new work. I think that for people far and wide, the music that came from the North was a huge influence – maybe they remember listening to Blue Monday in their bedroom or dreaming of emulating the Gallaghers. For others it might be the fashion and style – Casual culture is constantly referenced in fashion, largely because of the exceptional and eccentric references of the casuals themselves. Or maybe it’s the shared feeling of growing up somewhere slightly away from the epicenter. Virgil and I have discussed this, given his upbringing in Chicago.

Who are your Northern icons ?

AM – For me it’s the towns and cities.  I could reel off a list of people that I find very inspiring and who have played significant roles in the work in this show.  But I really think it’s the fact that so many of these people spent the formative years of their careers working in places like Manchester, Salford, Liverpool, Preston, Sheffield, Newcastle etc.

LS: Peter Saville is a huge icon of mine. I’m very lucky to have met him early on in my career as he is a close friend of and contributor to SHOWstudio, the site I edit. He’s been very generous in giving us advice in the run up to this show. I am a huge Joy Division and New Order fan – Adam has done a good job in preventing this exhibition from being a glorified tribute to them!

What contemporary artists do you think are carving a new regional identity for the North?

Lou: We have work by Jeremy Deller, Mark Leckey and Scott King in the show, all of whom I think produce work that shows the North in complex ways – some touch on personal memories, some are political and urgent, some relate to youth culture and music and so on. I think their work has been instrumental in spotlighting the North in the context of the art world and far beyond, as so much of their output touches people far beyond the creative community.

 AM – I’m not sure if contemporary artists are actively seeking out to carve a new regional identity, I think this is something that grows from the work of a few people over time, but groups are set up to support new talent to thrive.  A couple of examples that I know well are Caustic Coastal in Salford, The Royal Standard in Liverpool and The Newbridge Project in Newcastle. Caustic Coastal is an art label set up by Dean Brierley and has been a refreshing addition to the art scene in Manchester & Salford.  Not all the work is my taste, but his enthusiasm to bring a range of new artists to the city is second to none.  The Royal Standard and The Newbridge Project are artist led gallery, studio and social workspaces in Liverpool and Newcastle and do a lot in each city to provide space and support for new creatives to develop their practice in the heart of each place.  All of these inevitably enable people to live and work in the cities, bring new people in and as a consequence a new generation of artists, image makers and designers will be able to flourish