After reading this, I guess I’m going to need all the help I can get.
I wish Sassy had been a part of my generation. I was stuck with shitty teen mags that focused on giving bedroom eyes to the guy sitting next to you in class. For one, I was 13 and didn’t particularly care at the time. For two, I went to an all-girls school. For three — oh it’s not even worth it anymore.
Some food for thought: as liberal and open the internet can be, it can and will be standardized and owned by either Apple or Google. Hmm. This has already happened in radio and telecommunications. Is there such a thing as “Net Neutrality”? (Sorry to get all non-fashiony and pretentious on you guys, but I’m writing a paper on the internet and blogs, and it’s something to think about considering we’re always on it?)
A flu has left me bedridden all day, unable to do anything but read? Best thing for a headache? I am fresh out of David Sedaris books to make me grin, but I started this Vonnegut lovely in between naps and coughing up a lung.
Sorry for the video overload, but for serious, dancing is essential, you guys. I am no smooth dancer myself, so I am taking dancing lessons via YouTube. Promising, for sure. Scour the interwebs for classic dance lessons and you can find the ultimate in practice material:
i) Cosby Show dance-off
ii) Youtube lessons in breakdancing (can I get a “SAY WHAT?!”)
These are the last shots with Samia. It was lovely scouring the entire metropolis with her and stumbling upon little things like someone (still a mystery to us despite our efforts to climb up to the roof) spraypainting right above us. I would like to imagine that our snapping complemented the soft whistling emanating from the spray cans.
Here is Part 1 of the Series I was talking rambling about yesterday. Samia is just a ball of energy, and despite the fact that we were both stressing over school and deadlines, we had quite a bit of fun.
[And yes, I coordinated my hair with Samia’s jacket and that random green door we found.]
I guess the red and green color combination seemed appropriate for the impending holiday season, that is, unless your city has already been conquered by tinsel and colorful lightbulbs. But here’s the seasonal catch: summer photo memories! And my friend’s deep, beautiful blue eyes coming to light, so to speak. Looking at this shot, and remembering summer shoots, I can only notice how many impromptu shots during non-summer seasons don’t come as naturally — they lack a certain organic flow to them. Case in point, I recently worked on a shoot with Samia, on an unusually warm fall morning (it felt more like summer). [The shots are coming very soon.]
The point I am meandering around (summer = better photos?) will be justified by the photos themselves, I believe. But to reflect on how seasons affect photos through this photo and the particular shoot I have in mind, I found that the warm weather pacified school angst and other stressors, and Samia and I soon found ourselves tucked away in some alley listening to someone spray paint on a hidden wall above us. We kind of just went anywhere in search for a key location to finish off some lagging film (we don’t waste film, you see). Amidst all this photo revelry, we nearly lost bags (and our laptops, containing our precious paper proposals and research assignments) to a truck driven by an inattentive truck driver. This somewhat traumatic event revived us from this summer-like slumber, and we soon lugged our bags back to campus, to reintegrate into our normal academic routine of library carrels and seminar rooms.
I seem to be missing a couple of posts as of late? I am not sure how/why this happened, but I am looking into it. It seems as though my posts on summer were the ones that disappeared? I guess this means that summer is officially over…
I recently came across these Jay Howell x Lifetime Collective tees, and they are wonderful: the cotton feels beautiful, the off-white color, and the neons really piqued my interest. And Jay Howell’s drawings are pretty wicked — they’re these whimsical little dudes straight out of a twisted children’s storybook drenched in enough color to dull any rainbow, or rival any American Apparel store.
There is a nice variation to his drawings as well: he’ll either layer different figures and colors, or just keep the lines simple or spastic, with some added neon splatters here and there.
This one, for realz, killed me. I LOVE IT SOO MUCH. The dudes remind me of some old Mr. Magoo background figures / Dr. Seuss quirky guys, or something — and some rad neon combos going on everywhere. Not to mention that the lettering is perrrrfect.
I have always loved the backstage delights of runway shows…only those from the 90s; today’s “behind the scenes” feel so staged. I remember, as a child, watching Tim Blanks interview designers amidst extreme chaotic conditions that we no longer witness today. This video, for instance, just warms me up: John Galliano just getting Kate pumped for a nice dramatic spring down the runway — in a gown, of course. I love that he squeals in excitement, I love how Kate just nails it, I love how he tells her to temper her run so that the skirt can flow forward , and I love that, after all of this, he asks her if she’ll “remember it”. Oh the theatrics of it all: this is still staged for prying eyes, but jesus, it’s so much more fun than it is nowadays, innit?
With his Spring Summer 2010 entitled, “Social Signs,” Baptiste Viry offers a new take on social symbols and the values we place on our clothing. His acute attention to detail and construction in his ties, uniform hats and jewelry deliver a poignant message that crosses not only gender boundaries, but the social and temporal as well. Through his timeless accessories, he tricks the eye – and we are forced to stop and take a second look. His use and reworking of leather further allows the wearer to stamp their own mark in the history of his pieces.
A point that echoes throughout your site is that you have “a respect for clothing and accessories; pieces with an identity that went through transformations and thus lived a life.” How do you translate this into the construction of each piece?
Baptiste Viry: Each bit I incorporate into my pieces already has a story; it speaks on it’s own. By using it, I think I’m doing some kind of rejuvenating. I give something a modern touch, a new life, a future. I see my pieces as a mix of both new and old, in the same way the Arte Povera is also very interesting.
You emphasize the role of clothing in life, in one’s personal history – does this affect the materials you choose, as in which leather ages best?
BV: Yes, when it comes to fabric, I like to put a vintage touch to it because it hasn’t been used by the time yet. For example, when I worked on my ” waistcoats ” I created an aging effect by using dye and other treatments. Regarding the leather — it gets old in a beautiful way — it acquires a very unique patina through time. I like to leave it free to do so.
Your collections seem to call to a different era – which era exactly and why?
BV: By the looks of it yes. People come to think of an era when they see the vintage bits, but there is no conscious intention to focus on any particular era. All the pieces I put into my work come from different periods in fashion history. My collections are never quite based on inspiration, but more on an overall concept.
Would you define your collections as gendered?
BV: I always have a women’s collection in mind when I design, but more and more men are buying my products. A special accessories line for men will be arriving shortly.
Your SS 2010 collection, entitled “Social Signs,” is filled with many social symbols, such as ties and uniform hats, that were in some way indicative of what social class you once belonged to. What do these symbols mean to you and are you trying to alter their social significance?
BV: The symbols do signify social differences - the separation between different social classes, which I really dislike. And I’m not fond of the idea of belonging to a category of people just because of what you wear. Clothes carry with an identity that I like to make fun of constantly. I work on a piece of clothing in order to change the whole process that goes through a person’s mind when they first see it. I want to break down this instinct to judge. I like to think that my approach fashion is more as a game to be played.
Who is the woman you design for? What is she like?
BV: I never think of a particular kind of woman when I create. But I have to say my imagination often comes back to my first art teacher and dear friend, the artist Christine Gutner. She has got this very special style that I really like: halfway between femininity and androgyny. A very unusual, edgy and personal look. She goes perfectly with my pieces.