A little concept art: the immortal god-empress for Another Sky, a dark isekai I’m working on. She’s ruled most of the world with an iron fist for several thousand years.

Her blood is silver due to the amount of magic within her.

inspired by both the Hades game and cyberpunk 2077. I’ve changed up my cyberpunk designs quite a bit, tried to make them fit with the gods themselves and the environment I have planned in my head.  So Loki, norse god, the norse designs I’m trying to keep as more practical and harsh than flashy. They live in a colder climate so there are elements that are beautiful but for the most part it’s designed for function over showing off and flash. I also used colder colours, or harsh colours, just to fit with the aesthetic of looking scary and intimidating. Loki does have some decoration on his, I wanted to references the mistletoe from the myths, also there are runes tattooed all over. They mean various things, the rune on his forehead and his glove is actually the run of fire, since Loki is the god of fire this seemed appropriate. 

Thoth is next, for the Egyptian ones I’m sticking with a more traditional look, just smoother lines. They’re not showing off. To me in my head I always see the Egyptian gods not needing to show off, they know they’re important and powerful, they don’t need to show it. In my AU they’re second powerful, and they always have this regal air to them. Sort of an old money kind of aesthetic, it’s about status and elegance, not showing off your wealth. 

Tezcatlipoca is an Aztec god, I mixed up elements of traditional with the jewellery and added in the cyberpunk elements of making it smooth and glowing. I kept with the obsidian and dark colours for Tez’ since he’s the god of the night sky among other things. I wanted to add some Jaguar pattern but it just felt like too much going on, so I kept it simple and instead gave him jaguar eyes. For the rest of the Aztec gods I’m going to keep it as this mixture of traditional jewellery and just add the cyberpunk clothes. Also Tez’s colour scheme on his face is inspired by the mask I saw of Tezzcatlipoca at the British Museum. 

Now on to the flashy gods, or the greeks. I’ve done a few more of them because these designs were in my head. Originally I was going to keep with the black and colour designs I have been doing, but then I thought that actually in ancient Greece white and gold was a symbol of power and authority. It showed you had wealth and when I changed to that colour scheme it just worked so well. It made them appear as I see them. The Greeks and the Romans did like to splash out and show off. I also wanted to really make them very cyberpunk in my style. In Greece in this AU all the arts have just exploded in Greece and it’s all about looks and status. The Olympians themselves are almost treated like celebrities which works out fine for them since it’s a style of worship anyway. I also gave their skin tone a gold hue because the greek gods bleed gold so, they’d have a golden tinge to their skin colour which makes them even more flashy and showing off. So their designs are all about showing off and being noticed. I would go into their individual designs but that would just take a long time and I doubt anyone is still reading this but hey ho! :D If anyone is interested about the reasoning behind their individual designs, let me know :) I hope you guys enjoy! There are more to come! I really enjoyed designing these!

What the fuck is the hexagram ritual?: a guide

By reader request, welcome to the sequel to my guide on ‘What the fuck is the LBRP?’, taking you from a five to a six (Thelemites will appreciate the numerology there). I answer a less-asked but still equally common question: what the fuck is the hexagram ritual?

Recalling that the pentagram is a star with five points, the hexagram is one step up from that, a star with six points (d’oh). In the classic Western paradigm, while the five points of the pentagram represent the elements (including Spirit), the points of the hexagram are typically understood to represent the seven classical planets—

Wait, how the hell do seven planets fit into six points?

—I’m getting there. The six points represent (in clockwise order from top, based on the Golden Dawn/Thelemic schema) Saturn, Jupiter, Venus, the Moon, Mercury, and Mars, while the Sun is represented by the centre of the hexagram.

Hence the hexagram and the pentagram generally work on two different levels: the elements making up the pentagram are right here, with us, in this material realm. The hexagram, representing the planets, are out there, floating in the great inky space that lies beyond.

In other words, the pentagram primarily represents our microcosm: the hexagram, the macrocosm.

Okay, who made that shit up?

Probably the Golden Dawn. Ish.

This assignation of the points isn’t arbitrary: the modern Hermetic Kabbalah assigns planets (including the modern ones, i.e. Uranus, Neptune and Pluto – yes, Pluto) or the Sun or the Moon to each of the Sephiroth, or spheres on the Tree of Life.

The Tree of Life?

It’s hard to explain Hermetic Kabbalah concisely and satisfactorily here, so I’d recommend a book such as Lon Milo DuQuette’s The Chicken Qabalah of Rabbi Lamed ben Clifford. In essence, the Kabbalistic Tree of Life is a diagram that visually represents the ten spheres (the Sephiroth) that embody the process of how creation emanates from the original Source, i.e. God with a really big G. Imagine a light shining through ten different filters, the last of which crystallises it into the thing we perceive as Creation.

It’s probably easier to show you:

Do you see the hexagram in the middle of the Tree, centred around Tiphareth/the Sun? That’s exactly where the hexagram correspondences come from.

I thought you said ten spheres – why are there eleven? Also, Uranus is at the top point, not Saturn.

... because Daath (‘Knowledge’), the sphere to which Uranus is assigned, isn’t a ‘real’ sphere, so to speak. The theory is rather more than this primer can cover, but in short, Daath is more of an ‘illusory’ state that sits right on the gap between the spiritual consciousness attainable by humanity (culminating at Chesed) and the ‘pure’ Divinity that lies beyond the veil separating us from the source of all things. This is the gap known as the Abyss, and is a trap for any spiritual seeker. The next 'real' Sephirah after Daath is Binah, which in Thelemic cosmology is also the seat of Babalon, the Great Mother, who assists us safely beyond the Abyss. This is why Saturn takes the top point where Daath should be – it’s the culmination of the journey over the Abyss.

The Earth isn’t included in the correspondences, because the Earth is a given: we have our foot planted firmly in Malkuth, the realm of physical manifestation, of this tangible world around us. This is where the four classical elements live, and where we are. It is from here that we have a base from which to manipulate the six spheres above us, and being rooted here ensures that the higher influences in our lives are balanced, pleasant and stable.

So how does the hexagram ritual fit into all of this?

Easy-peasy: just as the LBRP is our key ritual to balancing and harmonising the influences of the four elements in our life, the hexagram ritual is our key to accessing the power of the macrocosmic forces of the planets. 

I’m not actually going to post the full ritual text here, as it would make clutter this post, but you can find it here, in Crowley’s Liber O. Note: Make full use of the illustrations included by Crowley.

Blimey, looks complicated.

... it’s a lot less complicated in practice. 

To break it down, the ritual opens and closes with a series of steps known as the Analysis of the Keyword, which is essentially an enacted analysis of the symbolic meanings of the word INRI (which, if you know your Christianity, was the abbreviation the Romans placed on the cross of Jesus, identifying him as Iesus Nazarenus Rex Iudaeorum, ‘Jesus, the King of the Jews’). Thelemistas has a fantastic analysis which I won’t repeat here, but if you have any questions feel free to drop me a DM or an ask. But in short, the Analysis of the Keyword is a method of accessing and drawing down macrocosmic energy. It’s like making sure you’re the right shape of plug before you stick yourself into the power socket of the universe. Terrible analogy, but you get the point. It’s analogous to the Qabalistic Cross in the LBRP.

What’s with all the Egyptian stuff?

Blame the Golden Dawn again.

The Cliffs Notes version is that the Golden Dawn was deeply influenced by the major developments in the study of ancient Egypt – and fashion for Egyptian ~aesthetics~ – that exploded during the Victorian era. There was a strong association of Egyptian religion with the mysteries of life and death (for good reason, however), and so its pantheon and symbols became a language for expressing the mysteries that the Golden Dawn was obsessed with. 

Isis, Apophis and Osiris don’t just represent three deities – they are also symbolic of a process of deification and rebirth. Isis is the Mother that generates, Apophis the Serpent that destroys, and Osiris the King that is reborn. And of course, the initials spell I-A-O, a Gnostic god-name that appears everywhere in the Golden Dawn and in Thelema.

After the opening Analysis of the Keyword, you go to each of the four quarters and, as with the LBRP, draw hexagrams and vibrate ARARITA. 

AR— what?

ARARITA, the notariqon, i.e. acronym for Achad Rosh Achdotho Rosh Ichudo Temurato Achad, a Hebrew phrase sometimes translated ‘One is his beginning. One is his individuality. His permutation is one.’ The meaning and analysis of this phrase is beyond the scope of this post, but perhaps it would suffice to point out that the word has seven letters. Now, where did we just see that number?

Oh, I know! [answer redacted]

Yup. It all comes back to the [answer redacted].

Okay, great. But what’s with all the triangles? Some of these aren’t actually hexagrams ...

Technically they are; they’ve just been sort of ‘deconstructed’. I don’t myself know exactly why or how they’ve been taken apart the way they are (answers on a postcard, please), but as you can see the interlocking triangles of the hexagram have been rearranged to form four ‘variants’ that are each assigned to a different element. My theory is that, for example, the hexagram for Fire has two upward-pointing ones, which symbolises the upward-moving nature of the element. 

I thought we were done with the classical elements.

... I know, I lied. 

Well, I kind of didn’t. We are done with the classical elements, or rather, we’re done with the four elements as they exist in our regular mundane world. We’re looking at these elements as symbolic of more idealistic, transcendental realms – this is why they’re assigned to different cardinal directions from the LBRP. In the LRH, Fire is in the East, Earth to the South; Air is in the West, and Water is in the North (as opposed to the LBRP schematic, with Air=East, Fire=South, Water=West, Earth=North). This assignation is based on where the four fixed signs of the Zodiac are found: Leo (Fire), Taurus (Earth), Aquarius (Air) and Scorpio (Water).

It shouldn’t be a surprise now that we’re talking about the zodiac signs: we’re operating on a macrocosmic plane now, where the stars and the planets are.

One thing we should also point out: another possible reason why the two triangles are taken apart is because they technically are two separate symbols: an upward-pointing triangle and a downward-pointing one. In the traditional Golden Dawn association the former should be visualised in red, symbolising Fire, and the latter should be visualised in blue, symbolising Water.

Crowley, being the sort of person who wasn’t going to be tied down by such silly things as traditional correspondences, suggests in Chapter 69 (yes, I know: Crowley being Crowley, this isn’t actually an accident) of The Book of Lies that the magician swap these associations around, so that the upward-pointing triangle is blue and the other one red.

... the descending red triangle is that of Horus, a sign specially revealed by him personally, at the Equinox of the Gods. (It is the flame descending upon the altar, and licking up the burnt offering.) The blue triangle represents the aspiration, since blue is the colour of devotion, and the triangle ... is the symbol of directed force.

The fuck.

Do what thou wilt, mate.

Anyway, unlike the LBRP, there is then no invocation of archangels or anything after the quarters are called: we simply return to the Analysis of the Keyword, neatly closing up the ritual by going full circle (ha-ha). My theory is that because the LRH functions on a macrocosmic, and thus more conceptual level, there is no need to invoke figured beings to ‘ground’ or personify the work. 

Thanks, I’m cool with the symbolism now, sort of. But how do you use all this ... stuff?

My own understanding of how one employs the LRH draws on the work of Scott Michael Stenwick on the ‘operant field’. According to this technique the LBRP and invoking form of the LRH (or LIRH) are employed in tandem as a standard opening to ceremonial work. The LBRP clears and creates the vacuum within which magical work occurs, while the LIRH opens up a channel to ‘higher’ energy, rather like plugging yourself into a spiritual power-point. Put another way, the LBRP proclaims your decision to perform magic to the ‘lower’ realm, and demands that your work remains unsullied by it, while the LIRH then announces your intention to the ‘higher’ spheres of power and invites them to charge your work with pure energy.

The operant field technique is in my experience a powerful and effective method of initiating any ceremonial work, and is just good practice in general.

What about the banishing form of the hexagram ritual?

Most of the time I’ve used the banishing form of the LRH is when I’m pretty sure I’ve fucked up some planetary magic and/or an imbalance of planetary energies are causing trouble in my life, or in my magical work. I wouldn’t advise using it too much, if only because the level on which this ritual operates means that trivially employing the banishing form is rather like using a gun to kill a fly.

At the end of the day, it’s all about using the most appropriate tools for the most appropriate purpose. Hopefully this guide has given you some idea of what the hexagram ritual is appropriate for.

Just don’t use it to kill a fly. A swatter will do. 

A Little Bit About My Characters

(From my main two WIP)

Rapunzel

Kēisuke’s (Rapunzel’s) love interest is Daishirō

Kēisuke and Daishirō are both Japanese*

They both have black hair, dark brown eyes, and brown skin (Kēisuke’s skin is darker)

Kēisuke is about 5′2″ and 100-115 lbs (not including his 80 ft of hair) Daishirō’s about 6′5″ and 300 lbs

Kēisuke is a black kitsune (who can’t shapeshift, poor baby) and Daishirō is a shapeshifting bear-yōkai (Asian Black Bear)(Kēisuke’s favorite past-time is snuggling into Daishirō and basking in his size - in whatever form he’s in, tho he has a particular fondness for his bear after a certain episode of hibernation)(I ranted about the Cinderella trio below so I gotta do it here too. Daishirō. Let me just. Daishirō is stability. He’s that feeling you get when you finally have your life in order; your homework’s done, your room’s clean, you have enough money to pay your bills and everything is GOOD. There are no worries, your stomach’s full and your well-rested and you can just breathe. Kēisuke isn’t as confident as the others but he’s kind and patient and the type of person that animals fawn over because he’ll pet them for hours and never tire. He’s like the steady hum of a lover’s heartbeat against your cheek.)

Kēisuke has powers but Daishirō does not (aside from shape-shifting between a bear and a human and enhanced strength)

Kēisuke is a student - learning how to live outside his prison-walls - and Daishirō is a patrol guard for his sleuth

Kēisuke is about 100 years older than Daishirō

Daishirō is a pansexual man** and Kēisuke is a binan*** whose sexuality is undetermined

Both Daishirō and Kēisuke use he/him pronouns

Cinderella

Sōla's (Cinderella’s) love interests are Ra and his mate Atlas (they eventually become a polyamorous triad centering around Ra)

Sōla, Ra, and Atlas are all of African descent: Sōla and Ra are both half-Roman**** while Atlas is completely Egyptian*****

Sōla has silver gray 3C hair, dark golden brown skin, and orange eyes; Ra has dark brown 4C hair, black skin, and brown eyes; Atlas’s hair is shaved (they wear a black wig) and both their skin and eyes are dark brown. (The aesthetics of first two are bright and smoldering like fire and the third is warm and comforting like earth, just, fyi)(Yknow, I said that . . . but when Ra smiles he’s like the sun. He goes from a smoldering fire to a fucking blinding ass comet shooting across the sky. It’s a gorgeous transformation. Atlas is literally like a warm cup of tea on a cold night, he’s so comforting and something you could just curl up in for days. And Sōla just fills you up. When she smiles it’s like that feeling you get when a cat’s finally starting to like you, like the world is blessing you with a great, unreachable gift.)

Sōla and Ra are both dragon-born; Ra is a purely fire-dragon (tho he loves flying as much as any air-born) and Sōla is a water and fire-dragon (she practically lives in the hot-springs). Atlas is not dragon-born.

They all have the powers of divination . . . though they don’t all have the same divination outlets.

Sōla is 5′5″, Ra is 6′3″, and Atlas is 5′8″. (I don’t know their weights because I haven’t gotten that far yet)

Atlas is a Priest, Sōla is a Pullularia (i.e. Cockatrice Keeper), and Ra is a Crown-Prince.

Atlas is the eldest by a few months, Sōla and Ra share their birthday and are about to turn 25.

Sōla is a ciswoman who uses she/her pronouns, Ra is a cisman who uses he/him, and Atlas is non-binary and uses they/them

. . . their sexualities are up for grabs. (I haven’t even figured out their cultures’ genders yet so who knows - the genders i just listed might not even be true)

THAT’S ALL FOR NOW FOLKS! :D

*Their time-period is based off Heian Japan

**I’d like to add as a sidenote that his people choose their gender when they start shapeshifting between bear and human so “cis” doesn’t really exist in his culture

***See post about brainstorming sexualities

****Their culture is based off Ancient Rome . . . with a lot of dragons.

*****Again, their culture is based off Ancient Egypt

Plastic Surgery in Ayurveda-Juniper Publishers

Journal of Orthopedic & Orthoplastic Surgery

Research Article

Plastic Surgery in Ayurveda

*Dnyaneshwar kantaram Jadhav

Department of Ayurved Medicine, Director of Nakshatra Ayurved clinic & Research center, India

Submission: March 31, 2017; Published: April 20, 2017

*Corresponding author: Dnyaneshwar kantaram Jadhav, Department of Ayurved Medicine, Director of Nakshatra Ayurved clinic & Research center, Mumbai, India, Email: [email protected]

How to cite this article: Dnyaneshwar k J. Plastic Surgery in Ayurveda. JOJ Orthoped Ortho Surg. 2017; 1(1): 555552. DOI: 10.19080/JOJOOS.2017.01.555552

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Abstract

From ancient Indian surgery, it has been observed that various operations successfully performed in those days also. In ancient period Acharya were doing surgery in Ayurveda. Sushrut was the first and famous surgeon of ancient science. There are so many examples and descriptions of surgery available in Ayurvedic Samhita. Sushrut has described plastic surgery like Nasa-sandhan (Rhinoplasty),> Karna-sandhan (Auroplasty] and Oshta-sandhan (lipoplasty]. Contribution of ancient Indian surgery in the field of plastic operation cannot be over-estimated.

It’s true that in old days one of Royal punishment was to cut way ear-lobe, nose etc. Indian surgeon correcting such deformity by shifting the skin flap to reform the nose and ear. They had plenty of opportunity to do Rhinoplasty which was first to be done in this country and itself made Indian surgery unique. They also appreciated the importance of proper wound healing for successful plastic surgery operation. It is common man’s thinking that there is no surgical treatment for disease in the science of Ayurved. After the turn over the pages of sushrut Samhita, one will understand that sushrut has laid done the basic concept of the present surgery. The present article is an attempt to highlighting on reference of ancient plastic surgery in Ayurveda.

Keywords: Plastic surgery, Sandhan Karma, Ayurveda, Sushrut.

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Introduction

Ayurved science of life which is divided into 8 branches. Shalya (surgery) is one of the branches of Ashtanag Ayurved [1]. In ancient time Ayurveda was at top point of mountain but in between there was long period of slavery and Indian become depend country on British government. This is period of decline period of Ayurved and now common man’s thinking that there is no surgical treatment for disease in the science of ayuvred. It takes a beet troubles to turn over the pages of sushrut Samhita, one will find that sushrut has laid done the basic concept of the present surgery. Sushruta is considering as father of modern surgery, because of his logical approach prudent and Clare view and marvellous presentation which is time tested. From ancient Indian surgery, it has been observed that various operations successfully performed in those days also. The various surgical procedures were divided in chedya, bhedya and vedhya [2]. Chedankarma was performed in those disease were suppuration is absent, swelling is herd and immovable or in those diseases where gangrene develops. The same procedure is still being adopted in modern science. Hand is best instrument for surgery [3].

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Materials and Methods

For the present review detailed literary study is performed. The Detail content of and references are analysed from available text. Principal texts referred are Sushrutasamhita and some Vedas. Also relevant references are taken from other Research articles available from internet.

Meaning of Plastic Surgery

Plastic surgery is a surgical speciality involving the restoration, reconstruction, or alternation of human body. It includes cosmetic or aesthetical surgery, hand surgery, microsurgery and treatment of burns [4].

History of Plastic Surgery

The oldest surgical references found in Ancient Egyptian medical text [5]. This Reconstructive surgery technique was being carried out in India. Sushruta was a physician that made important contributions to the field of plastic and cataract surgery in 6th century BC. The medical works of both Sushruta and Charak originally in Sanskrit were translated into the Arabic language during the Abbasid Caliphate in 750 AD [6]. The Arabic translations made their way into Europe via intermediaries. After that surgical technique of sushruta is followed in Italy.

British physicians travelled to India to see rhinoplasties being performed by native methods. They Reported on Indian rhinoplasty performed by a Kumharvaidya which was published in the Gentleman’s Magazine by 1794 [7]. Joseph Constantine Carpue spent 20 years in India studying local plastic surgery methods. Carpue performed the first major surgery in the Western world by 1815 [8]. Instruments described in the Sushruta Samhita were further modified in the Western world. The Roman scholar Aulus Cornelius Celsus recorded surgical techniques, including plastic surgery, in the first century AD. The Romans also performed plastic cosmetic surgery. They were able to perform simple techniques, such as repairing damaged ears, from around the 1st century BC.

References of Plastic Surgery in Vedas[

9

]

Description of Sandhan karma found in ancient times. During Vedik period science of Sandhan karma is very well developed. Reference of Magical operative surgery of Ashwinikumaras mentioned in vedas.

In anger Lord Shiva cuts the head of Ganesha, later on which is replaced with head of elephant. After that event shree Ganesha is known as "Gajanana" This is best example of transplantation which is well listen since childhood from our mothers and grandmother in stories.

Bispala is wife of king Khela. She lost her leg in war. Ashwinikumaras was transplanted her leg with an iron leg [10]. The lost part of body of Rishi Atriwas was re-joined by Ashwinikumaras. The body of Acharya Shyaba was cut into three parts. Ashwinikumarsimmediately re-joined all parts and give him life [11]. Beside the Rigved, Padampuran also have written examples of reconstructive plastic surgery [12]. Bhairav cut the head of Brahma and Dadhichi. Ashwinikumaras re-joined their head. They also transplanted the head of Yahnya. Dadhyancha was the master of Madhu Vidya. Ashwinikumaras showed them interest in learning of Madhu Vidya. So they cut head of Dadyyancha and kept separate. Then they transplant the head of horse to the body of Dadhyancha and learnt Madhu Vidyafrom them. After learning Madhu Vidya, they transplanted his own head [13]. Dakshya cut head and trunk of Chyavan. Ashwinikumarasperformed the first plastic operation to join them [14].

According to Upanishad, Ashwinikumaras also operated and repaired the excised head of Yagyana by Rudra. Ashwinikumaras were doing both homo and hetero transplantations at that time.

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Plastic Surgery in Ayurved

Sushrut has described plastic surgery. In plastic surgery particular Nasa-sandhan (Rhinoplasty), Karna-sandhan (Auroplasty) and Oshta-sandhan (lipoplasty) are mentioned in Ayurved. Contribution of ancient Indian surgery in the field of plastic operation cannot be over-estimated. It's true that in old days one of Royal punishment was to cut way ear-lobe, nose etc [15]. Indian surgeon has applied their injurious technique for correcting such deformity by shifting the skin flap to reform the nose and ear. They had plenty of opportunity to do rhinoplasty which was first to be done in any country and itself made Indian surgery unique. They also appreciated the importance of proper wound healing for successful plastic surgery operation.

Sushruta has described 15 methods of Karna-sandhan (Auroplasty) repairs of the several ear-lopes [16] (Table 1).

Sandhanarthajivitamansa (pedicled skin flap) [

17

]:

If skin flaps unavailable from ear during Auroplasty than for Sandhanprakriya (plastic surgery) than it can take from Gandapradesha(living flap connected as base of cheek).

karnasandha-vidhi (Auroplasty)

Mahrshi Sushruta described the detail procedure of karnasandha-vidhi (Auroplasty) in his sushrutasamhita [18].

Nasa-sandhanvidhi (Rhinoplasty)

Sushruta mentioned Nasa-sandhanvidhi (Rhinoplasty) for nose either lost by disease or by trauma/accident. Description of Nasa-sandhanvidhi (Rhinoplasty) is available in sushrutsamhita. The original method of Nasa-sandhan (Rhinoplasty) reveals that first of all the leaf of creeper should be collected. It should be adequate in length and breath, to cover the entire severed portion. Then a patch of living hash of the size of previously trimmed leaf should be excised with an attached pedicals. So the excised skin flap is maintained by its vascularity. Thus skin flap is than over lapped to severe portion and stitched. The insertion of kamalnaal into nostril to vacillated respiration and to maintain the suture [19].

Oshthasandhan-vidhi (lipoplasty)

Maharshisushruta mentioned sandhan-vidhi of china oshtha (lipoplasty) for khandoshta (harelip) [20]. sandhan-vidhi of china oshtha (lipoplasty) is same as Nasa-sandhanvidhi (Rhinoplasty). The only difference is that in lip surgery there is no use of stem of Erandanaala. In Sushruta it is also mentioned that, Vaidya who get skilled in these reconstructive surgery, become Rajvaidya i.e. who can treat the king. So From above review it can be said that, sushruta was the original plastic surgeon not only in India but also in the world.

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Conclusion

In Ayurvedic achrya Sushrut has described plastic surgery. Nasa-sandhan (Rhinoplasty), Karna-sandhan (Auroplasty) and Oshta-sandhan (lipoplasty) and many more sandhan (plastic surgery) are mentioned in Ayurved. Contribution of ancient Indian surgery in the field of plastic operation cannot be over-estimated. All of this it made Indian surgery unique.

To read more articles in Journal of Orthopedic & Orthoplastic Surgery

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Elephants, rollercoasters and rockets: The Idealist visits Andrew Martin

Today’s Modern Hero is Martin Waller, founder of Andrew Martin International. We caught up with him at their very distinctive store in Walton Street, Kensington, to talk design, travel and inspiration and learn more about the eclectic and highly original Andrew Martin look.

your home tells a story of your life

One Stop Shop

Martin Waller, Founder of Andrew Martin International

IDEALIST: Martin — thanks so much for finding time to talk to us today. You’ve worked all over the world and have a number of stores and high profile clients. As fans of Walton Street, it strikes us that there’s nothing quite like shopping in London. Our shopping guides to other cities feature some great places, but our experience of Paris, say, or Madrid is that you don’t get such a concentration of designers in one street. Why do you think that is?

Martin: I think that’s true in a lot of places in the world. I actually think London is this– we have this kind of quirky, individual attitude to life and I think which is why our music industry is so successful and we’re good at those things. It’s because we hate to be told what to do.

IDEALIST: In The Idealist we feature quite a lot of interior designers and people renovating their own properties. Professional designers tell me that their buyers all want a unique look but that also they want something that tells a story about themselves. Typically people want a mix and match approach that tells a story, so they’ve got antique prints from when they got married in Italy, or let’s say they’ve got a dining table inherited from their parents. People want that kind of connection. Do you agree?

Martin: I absolutely agree. I mean your home tells a story of your life. The curious thing about fashion is people say they want individuality but everybody buys an Hermès Birkin bag. Or they all buy exactly the same Louis Vuitton thing. But in their home, that’s where they express who they are and I absolutely believe that is what being in the trade is all about. All designers are facilitators to help people tell their story.

Starting the Business

IDEALIST: So how did you get into the business?

Martin: Oh my God the question really is how do I get out! So I started in 1978 that’s a long while ago! When you’re 22 you really know everything there is to know. It’s only as you get older you find you know less and less and less and want to know more and more! So we started in Richmond and then we came here about 30 years ago.

IDEALIST: And what were you selling first?

Martin: There were always things for the home: lighting, cushions, textiles, interior designs stuff.

IDEALIST: And did you have a certain kind of customer in mind or a certain look initially or was it things that you loved?

Martin: No, things have evolved terrifically. In fact I was just writing the introduction– you know we publish this book every year called Interior Design so I was just writing the Foreword for this year and I was trying to find a word to describe our design era. We’ve had everything from midcentury to 1960s to Pop, but actually I’ve realised what we’ve been doing for the last 20 years didn’t have a label.

random shards of glass come into focus and create the overall pattern

Kaleidoscopic Designs

IDEALIST: Did you find something? Have you come up with a name?

Martin: Well the word I’d come up with is kaleidoscope. I’m sure when you did ancient Greek you’ll know the derivation of the kaleidoscope, you know about observation and beauty and shape and so on. And this idea that these random shards of glass come into focus and create the overall pattern.

Martin walks us through his latest International Design Review book which features interiors of the rich and famous from all over the world, including outstanding designers from Holland, China, South Africa, Poland and elsewhere and with spreads including Tommy Hilfiger’s New York pad on top of the old Plaza Building, the New York Yankees hospitality suite, and some amazing commercial and domestic interiors.

Martin is a tremendous history buff and reminds us that there’s nothing new about palatial interiors and awe-inspiring designs. At the peak of ancient Rome, there were something like 1.2 million people in Rome which fell to fewer than 40,000 and has only in the 20th century recovered to its Roman Empire heights. And the Dark Ages lasted for so long! A thousand years of pillaging hoards before the Renaissance!

Alongside the modern design pieces and some amazing original prints – for example of Fritz Lang’s Metropolis – the Walton Street store is to our eyes pretty unique in also selling original historical artefacts and antiquary from Roman and Egyptian times. They really are a site to behold and make a change from the midcentury design classics you see being hallowed elsewhere.

IDEALIST: Returning to the 21st Century, why do you think certain historical styles, such as High Victorian, or Georgian persist? I can see why someone with a Jacobean mansion would want to decorate it faithfully, but why are there certain looks that we seem to return to? Are there trendsetters that tell us how we should live?

Martin: Yes. I mean that’s such an interesting idea where trends emerge from and how trends become universal. They pop up in Japan and they pop up in America and Europe kind of all simultaneously. There is partly movies and magazines but trends were always there. You’re talking about Victorian houses and you can tell the difference between a Queen Anne house and a Georgian house. Even in things as big as that, you know the decade the house was built by looking at it, or likewise on the domestic scale with a teapot by its handle or its lid and its spout. There has always been this incredible fashion for the styling of things in everything.

Martin: The interesting thing is that some things haven’t changed at all like. Men still want to look like Cary Grant and girls want to look like Audrey Hepburn. These are figures from the 1950’s. This is 70 years ago. If you go 70 years back before then people dressed completely differently. But James Dean, jeans, t-shirt that’s the look people wear still wear today. Back in the 1970s, we all thought by now we would be wearing white jumpsuits and our food would come in pills. There was this TV programme: Tomorrow’s World. None of it happened, none of it happened. Even cars, what has happened to car design?

Distinctive Aesthetics

IDEALIST: I know. There’s nothing now like the Citroen DS, or Aston Martin is there. I can just about get excited if you’ve got a retro looking sports car, but in the main, once you’re getting into the bigger cars they’re all very samey. Even the new VW Beetle.

So give me a feel for your kind of customers. When they come here are they looking for single pieces or are they looking to renovate a whole home?

Martin: Well of course you can’t generalise. There are lots of people who just want to wander in and find some strange thing or just buy an unusual Guatemalan textile, cushions or retro poster. Naturally because we do lots of homes and major projects, we see people who have an empathy with our aesthetic or think we have an empathy with their aesthetic.

IDEALIST: So what would you say has been your most unusual thing that you’ve found that you wanted to sell, or your most unusual request?

Martin: Of things we’ve sold I have to show you… we built this rollercoaster with all these old vintage cars that I got from Blackpool Pleasure Beach that were made in the 20’s and 30’s … so that was a random thing to sell. I bought this elephant sculpture too — you need to see how big it was.

Explorers are the real superheroes of the planet and I share their passion for finding new experiences and meeting new people.

IDEALIST: You’ve got a thing for elephants haven’t you?

Martin: Yeah we have. I made it for a place in India and was placed half way across a swimming pool and half on the shore as it were so you could swim underneath it. Aeroplanes…I’ve sold plenty of aeroplanes over the years. Space, I built this thing we do a lot of work with movie studios and this was from Alien. We rebuilt the spaceship and everything.This is when I was going through the Porn and Peep Show phase with neon signs saying All You Can Eat and Five Cents An Hour. And this, with these machines you press a button and it told you whether you were a love machine or grumpy…

Martin shows us some other installations with ropes hanging from the ceiling, some rockets for a restaurant in Paris and some huge Atomic Age and Russian-style pieces.

Martin: … these were divers we sold these figures. This was a football table but it was for giants, here are the humans. So we sold those. They were amazing actually. They’re beautiful aren’t they? Absolutely beautiful. So we’ve sold plenty of strange things over the years. This was an amazing thing. This was the architect’s model for a rollercoaster that was actually meant to be built in New Zealand. I think it was built in the 1930’s. You put a ball up here and it just follows the track of the rollercoaster. It was such a beautiful thing.

Ambitions

IDEALIST: You’ve done so much and it’s so eclectic. Do you have an ambition that’s not yet been realized? 

Martin: Well next month I’m going to space conference in Norway and there are going to be three moonwalkers there including Buzz Aldrin. Exploration is a passion really so I think Buzz Aldrin and Neil Armstrong are the two greatest explorers of all time. Explorers are the real superheroes of the planet and I share their passion for finding new experiences and meeting new people.

To see a small selection of the Andrew Martin range, you can shop online at andrewmartin.co.uk. For the full experience, we recommend a trip to their store on London’s Walton Street where they have everything from neon-enhanced posters of Che Guevara to Egyptian and Roman artefacts to rockets, cockpits, sofas, cushions and accessories. It’s a real treasure trove.

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from The Idealist https://www.theidealist.com/elephants-rollercoasters-rockets-idealist-andrew-martin/ from The Idealist Magazine https://theidealistmagazine.tumblr.com/post/162424846043