I designed my first collection for GENETIC!
In stores now: Net-A-Porter, Neiman Marcus & Selfridges.
I designed my first collection for GENETIC!
In stores now: Net-A-Porter, Neiman Marcus & Selfridges.
The latest edits of our rolling In Fashion interview series are available as podcasts. Head to our iTunes page to download the candid chats with designer Carlo Brandelli, art director Matthew Williams, knitwear trio Sibling and Purple founder Olivier Zahm.
These recent additions to the series, where fashion's most influential individuals discuss their creative and professional journeys, join our back catalogue of interviews with the likes of Roksanda Ilincic, Alexandra Shulman, Suzy Menkes and many more. And they're all free to download so you can listen on the go!
Browse our iTunes selection now. And stay tuned, we'll be releasing more 15 minute edits as podcasts soon - we've got edited footage of Alex Bilmes, Jefferson Hack, Sarah Mower and Craig Green coming up, so watch their uncut interviews while you can.
Fashion designer and SHOWstudio collaborator Nasir Mazhar has created an exclusive bully hat for SHOWstudio Shop. The cap is available in a unique red, white and black colour way and includes a SHOWstudio label in its inside. It will be stocked next to a selection of other hats from Mazhar's A/W 14 collection. The collaboration caps are extremely limited run - make sure you purchase now to avoid disappointment!
It's here! The second issue of 1 Granary just arrived at SHOWstudio, featuring a fantastic Christopher Kane look on the cover, and containing The Graduates editorial shot by Nick Knight and styled by Simon Foxton. You can only get the issue exclusively at SHOWstudio Shop, so visit 19 Motcomb Street or shop online tomorrow, 28 August to get your copy!
While you wait, check out The Graduates Tumblr curation to see the process work and inspirations of the graduate designers featured in the editorial.
One of my favourite shoots of 2014 (so far) was a multidisciplinary project for Under the Influence Magazine and SHOWstudio. For this project I worked with stylist Ellie Grace Cumming to photograph punk singer and artist Aza Shade. We wanted to show the different guises Aza adopts during her stage performances and cut the story into sections devoted to these characters. The Marquis de Sade, Iggy Pop, Stevie Nicks and KISS were amongst our inspirations.
What resulted was not only a fashion story, but also a fashion film called The Misfortune of Desire where black and white visuals of Aza are accompanied by a spoken word piece by No Wave sorceress Lydia Lunch. Nick Knight stepped in to add yet another dimension to this story, creating an audiovisual interview with Aza that accompanied the piece both in print and on SHOWstudio.
For me it's always an interesting challenge to approach photography from a new angle by making room for new collaborators. It often creates a more complex process, but through that process you inevitably find surprising, and ultimately rewarding ways to create new work. See the images in Under the Influence Magazine.
Today in the studio we're shooting new product shots of Peter Saville and Julie Verhoeven's brilliant erotic wallpaper, Forget-Me-Not. The paper was commissioned as part of our SHOWstudio: Fashion Revolution exhibition at Somerset House back in 2009. It is a personal favourite of mine and I have actually bought a couple of rolls to put up in my own apartment. Where to paste it?! That's the question.
It's apt that we're thinking about Julie today as the artist has a new exhibition opening later this week! Julie Og Jimmy Go Dogging is a collaborative project between Julie and Jimmy Merris. It was instigated by curator Lars Sture and promises to offer 'a simultaneously humorous and disturbing portrait of everyday life.' How exciting!
If you find yourself in Bergen, Norway at any point from 29 August and 26 October 2014 be sure to drop by. Details here!
Oh - and if you've got a few minutes it's well worth revisiting SHOWstudio graduate Penny Martin's brilliant interview with Julie, launched on the site way back when!
SHOWstudio friend and collaborator Rei Nadal introduced us to the wonderful artist Charles Jeffrey. He illustrated the Spring/Summer 2014 haute couture collections for SHOWstudio capturing gowns from Jean Paul Gaultier to Maison Martin Margiela through a series of abstruse, colourful drawings on found detritus, torn paper and even his own chest. Jeffrey has now depicted the CSM graduate collection of Grace Wales Bonner in these fantastic illustrations. Ethan O'Connor writes about them here:
'Afrique. C’est chic. Ideas of African masculinity and its trans-Atlantic mutation is the basis upon which Grace Wales Bonner made her A/W14 collection. Depicted through Charles Jeffrey’s elegantly scratchy illustrations, the graduate collection that gained notoriety for its multi-layered approach to wearability is now translated by Jeffrey for SHOWstudio. Figures in flares amidst sandy smudges, flowery cutout borders and scanned plastic wallets combine “art materials” with visually stimulating primitivism. The setting of Bonner’s collection was a landscape which provided the flamboyance of 1970’s black dress, with the attitude of artists like Kerry James Marshall and Samuel Fosso, a hybrid of West-African ideas about being male. Noticeably, the inspiration of Jean-Michel Basquiat flutters above the heads of the illustrated models. Jeffrey’s clever, Crayola-esque idols in their mohair suits and beaded bags allow us to absorb a welcome, refreshed image of Bonner’s vision.'
While having another rummage I turned up the first stencilled muslin label I made, TOO MUCH PARANOIA, in an outfit I stitched together in 1977. So what's changed?
Olivier Zahm stopped by for a live chat back in March 2014. The editor-in-chief of Purple Fashion talked to Lou Stoppard about personal style, anti-fashion photography and why porn was better in the seventies. A 15 minute edit of the interview is now available as part of our ongoing In Fashion series - browse through the current selection and stay tuned for more candid conversations with fashion's best and brightest. Up next: Penny Martin and Nasir Mazhar!
Selfridges tapped SHOWstudio and Marie Schuller to create their A/W 14 campaign, The Masters, an exploration of the pioneers and provocateurs that shape the fashion landscape. The result; a selection of stand alone tailor-made vignettes, connected by an overall visual direction, which can be threaded together as one overarching film.
Admire The Masters - from Azzedine Alaïa, The Master of Architecture and Dries Van Noten, The Master of the Eclectic, to Jean Paul Gaultier, The Master of Expression and Jun Takahashi of Undercover, The Master of Subversion - now!
More in the series of 'lovely things I get sent'. I was incredibly surprised and very flattered to get these personalised Stan Smiths Beats monogrammed slippers. Thank you Adidas.
Enjoyed today's interview with Kate Moss? We've built up quite an archive of projects starring the incomparable model over the years. There's the intimate and playful Billie Jean - Mossy doing her best Michael Jackson impression. There's Editing Kate, where footage filmed during Nick Knight's editorial shoot for Vogue Italia is re-used and re-interpreted by a selection of video editors. There's also White Wedding - back in 2008 when Joe Corre was still at the helm of Agent Provocatuer, Nick Knight and Ruth Hogben created a campaign and six fashion films for the British lingerie brand depicting Moss as a jilted bride hell-bent on revenge. And then there's that time, when asked how she wanted to express Moving Fashion, she responded to the brief with 'I just want to pogo.'
My personal favourite? As a dedicated follower of nineties fashion, it can only be the recently released but two decades old The More Visible They Make Me, The More Invisible I Become, the first time Knight shot Moss, and only the second fashion film he made.
In the latest episode of our Subjective series, Kate Moss speaks to Nick Knight about one of the most known, loved and reblogged images of her - a photograph taken by Juergen Teller of the model in bed sporting a shock of pink hair.
Moss tells the story of the now iconic Teller picture, recalling the fact that after colouring her hair pink for a Versace exclusive, she was only able to keep it for a week before having to dye it back to brown for Calvin Klein. The famous shot was taken, along with many others, on the day she changed the colour back. 'I do get his twistedness,' she says, of Teller's signature raw aesthetic.
The two discuss the shot as one of the defining images of the generation of nineties photographers who ushered in a new vision of fashion. Knight mentions Craig McDean, David Sims and Corinne Day as examples. The model harks back to her earliest days of modelling, booking jobs for Mizz magazine and test shoots. 'I didn't really care that I wasn't getting booked,' she explains, 'I just wanted to hang out in London.'
The conversation also expands to Moss' relationship with photographers, and the question of what makes her such a joy to photograph. 'You're a bit like the girls I used to know at school' observes Knight.
Walked through Angel today, passed the same sculpture I've seen loads of times but today it captured my imagination. Love how perfect the scale seems today, I always thought it was far too overt before, today it's perfect.
Stoppard's audio exploration weaves the story of the Odd Earring, citing its presence in examples as diverse as 1950 film All About Eve, Ukrainian cossacks and secret gay codes right up to the emergence of the trend on the A/W 14 Celine runway and the fine jewellery offering of Net-A-Porter.
Examining the recent popularity of stand-out single jewels like the Delfina Delettrez piece seen in the film, Stoppard suggests, 'You could see this as a comment on luxury. Before, jewellery was all about showing wealth or social status - 'diamonds are a girl's best friend' and all those cliches. Now we're more inclined towards gems that show personality. And what shouts of individuality and gumption more than the confidence to throw caution to the wind and wear one giant earring?'
Following the release of Ruth Hogben's Hitchcockian fashion film, Beyong the Glass, our rolling Ugly project continues with a new series of informative mini films. Key pieces - from clumpy shoes to odd prints - will be studied in short looping films with audio analysis that examines the recurring motifs found in 'ugly' fashion. The analysis is penned by SHOWstudio editor Lou Stoppard, who recruited the V&A's esteemed fashion curator Oriole Cullen to help with the research.
We begin with a look at Fun Fur. At once luxurious and feral, fur appears throughout history as something strange or even silly, from its use in surrealist art to last year's Fendi frazzles. As Stoppard says, 'On one hand fur is lofty, elegant, refined, a symbol of feminine decorum, on the other it's wild, sexual, raw. Though soft to touch, almost cuddly, there is a prickliness to fur - it is strong, powerful, even intimidating. In a much quoted phrase from Venus in Furs, Leopold von Sacher-Masoch once called a women in fur a 'great cat, a powerful electric battery.'
Watch the Fun Fur film now, and stay tuned for more, including explorations of clumpy shoes, awkward silhouettes, shocking prints and more!