The regions are where it’s at these days, so we are told, and naturally Barney Bubbles designs can be found in the thick of it.
This portrait of Malcolm McLaren was captured among the columns outside the entrance to London’s august British Museum by Andy Rosen in 1983.
In the photograph taken during promotion of the Duck Rock album, which was released at the start of 1983, McLaren sported a rare trenchcoat design from the Witches collection he and Vivienne Westwood debuted on the catwalk that spring.
Malcolm McLaren exhibition: The roots of Savages + his copy of Mable Morrow’s folk art book Indian Rawhide
Among the most revealing exhibits at the Malcolm McLaren show Let It Rock is the cultural iconoclast’s copy of a folk art book which proved a rich source of reference when he came to design the Savages collection with Vivienne Westwood in 1982.
McLaren’s consistent approach to creative activity always began with deep research (from the first publicly recognised manifestation, the Teddy Boy outlet Let It Rock, to his final film artworks Shallow 1-21 and Paris: City Of The XXIst Century).
And in the early 80s, McLaren’s copy of Mable Morrow’s Indian Rawhide, published by Oklahoma University Press in 1975, proved inspirational for this lifelong fan of Native American Indian culture.
McLaren’s recasting of this folk art in the sphere of fashion aligns his work in the 70s and 80s with the post-modern practice of appropriation which infused all spheres of artistic endeavour at the time, from literature to film and fine art. It is arguable that he and Westwood were the first and the greatest to incorporate the approach in clothing design.
When Savages debuted in October 1982 at Olympia’s Pillar Hall in west London, the repurposing of Native American tribal prints across a range of fabrics and garments – some overprinted with block capital slogans such as “Breaker” and “Girly” – and meshing with contemporary urban black culture and streetwear proved groundbreaking in fashion terms, as can be seen in this film commissioned for the event by McLaren:
Indian Rawhide and the clothing featured in this post are among the many rare and unique exhibits in Let It Rock: The Look Of Music The Sound Of Fashion, which is at the Crystal Hall in Copenhagen’s Bella Center from August 3-6.
Read more here.
Dave Robinson, one of the British music business’s towering figures, has sent me this lovely pop-reggae tune from Madness man Lee Thompson’s project.
It’s great for this sunny Bank Holiday; Bitty McLean is on top vocal form.
Fair takes me back to seeing Madness in their North London Invaders incarnation support a jazz-rock trio (!) at Camden Town’s Dublin Castle, and before that the graffito ‘Kix’ emblazoned around 70s teenage nexus Golders Green tube station (courtesy of Thompson).
On April 9 George O’Dowd and I will be in conversation at the V&A; the subject is David Bowie’s visual style.
French newspaper Libération’s coverage of the White Noise show in Chaumont included a section on my Barney Bubbles exhibit The Past The Present & The Possible.
Marie Lechner’s report – see here – points to Bubbles’ “spirit of protest and fun” shared by other White Noise exhibitors such as French design/music magician Shoboshobo (aka Mehdi Hercberg).
Visit Shoboshobo’s site here.
White Noise – curated by Sophie Demay and Etienne Hervy – is on until Sunday (June 10). Thereafter it will be open for a week exclusively for schools, colleges and general educational purposes.
Photographer Ivan Jones dropped by this week to take my portrait for a forthcoming book about the design business Burro. Contributors have been asked to wear garments they bought from the company for Ivan’s portraits.
I was a regular customer of the Burro outlet in Covent Garden’s Floral Street (and wrote about the label here).