Amid the references to the late Christopher Nemeth in today’s Paris show of the Louis Vuitton A/W 15 menswear collection (see my last post), artistic director Kim Jones used the staging to pay subtle homage to the two great maverick figures of London street culture – namely Malcolm McLaren and Vivienne Westwood and specifically their 70s punk store Seditionaries.
A rare design by the late graphics master Barney Bubbles has come to light after four decades; the psychedelic sci-fi drumhead was painted for Hawkwind when the space rocking Sonic Assassins undertook tours around the world following their success with the Silver Machine single in 1972.
I’m really proud of my niece Esme Bradbury, whose exuberant handmade designs via her label EsDes have received a boost with inclusion at the Craft Council’s Established East London pop up shop at Westfield Stratford.
‘The most radical designer of objects and furniture in the latter 20th century and early 21st century”: Jim Walrod on Gaetano Pesce in Bad Day #18
The current issue of arts and culture magazine Bad Day is enlivened by an engaging interview with the eminent designer and architect Gaetano Pesce by one of his most vocal champions, design authority Jim Walrod.
Augmented by Jeremy Liebman’s photographs, the feature makes a strong case for Pesce’s significance. “He’s the most punk rock person I’ve ever met,” writes Walrod of the 74-year-old.
Issue 18 of Bad Day has sold out but visit the magazine’s excellent website for further elucidation.
Malcolm McLaren exhibition: Nostalgia Of Mud + Witches + Folkways ethnological recordings from the 1950s
The idea is to show in clothes and music that, in the post-industrial age, the roots of our culture lie in primitive societies.
Malcolm McLaren on Nostalgia Of Mud and Duck Rock, 1983
Thanks to Hiroshi Fujiwara for tipping the wink over one of the sources of visual inspiration fed by Malcolm McLaren into the concepts unified by his solo album Duck Rock, the central London clothing store Nostalgia Of Mud and the fashion collections he designed with Vivienne Westwood in 1982-3.
One of the cues for Duck Rock’s investigations into music from all over the world was the series of recordings by enthnological music archivists Ronnie and Stu Lipner released on Folkways Records in the late 50s under the banner Dances Of The World’s Peoples. And McLaren’s appropriation of the naive cover art by W. Johnson – in particular the striking witchdoctor figure – found new form in design collaborations with Westwood, graphics supremo Nick Egan and artist Keith Haring.
McLaren’s brilliance at fusing disparate elements into culture-defining and dazzling artworks is being celebrated next week with the exhibition Let It Rock: The Look Of Music The Sound Of Fashion at the Crystal Hall in Copenhagen’s Bella Center.
The show – which runs from August 3-6 during Copenhagen Fashion Week – will incorporate hundreds of exhibits, many rare and never previously shown to the public, including clothing and objects featured here such as the Witches top, the show cards and original copies of the Dances Of The World’s Peoples LP and catalogue.
Read more here.
When I first saw it I was questioning a lot of things, not least my adequacy. Things like inspiration, influences, references . . . where do things come from? Copying things—not as “homage'”or “pastiche”, but dying to get inside a thing. Inhabit it. Nostalgia too. Using machines. Colour. Systems. Perpetual motion. Automatism. Copying things. Graham Wood on Existence Is Unhappiness.
This week sees the London opening of Magick Is Freedom! (After Barney Bubbles), an exhibition of the series of prints made by designer Graham Wood in response to Existence Is Unhappiness, the fold-out poster for the 12th issue of underground magazine Oz published in May 1968 and designed by Barney Bubbles with Sid Squeak and others.
Design authority Jim Walrod wears a deep and wide-ranging understanding of his subject – specifically that pertaining to modernism in furniture, interiors, product design and architecture – lightly.
This is refreshing in a field populated by bloodless experts and humourless know-alls. The founder of important 90s/00s store Form & Function, Walrod – described as “the ultimate design raconteur” by André Balazs and “the furniture pimp” by the Beastie Boys – is above all an enthusiast.
While interrogating materials for Rethink/Re-Entry – the monograph of artist Derek Boshier I am editing – I’ve come across many delights, including these sketches in the Flowers Gallery archive for one of the most visually striking documents of the post-punk era, CLASH 2nd Songbook.
Prior to Jim French launching his homoerotic imprint Colt Studios, the venerable American illustrator and photographer made his bones on Madison Avenue in the 1950s and 60s producing work for such clients as Columbia Records and scarf and handkerchief designer Tammis Keefe.
Now a selection of French’s artworks from this period are going on display in an exhibition at Palm Springs gallery Nat Reed.
The industrious British designer/illustrator Kate Moross is celebrating the publication of her book Make Your Own Luck with a London exhibition surveying the impressive body of work she has assembled to date.
I recommend the book highly, and not just because Moross gracefully thanked me for what little input I may have had. Also, as a fellow dog-lover, it’s great to see that Moross’s beloved Shiba Inus Tako and Ebi are given prominence on the flyleaf.