Paul Gorman is…

PRINT @SHOWStudio: Interviewed by Lou Stoppard and shots from my magazine archive

Jul 21st, 2015

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The launch of SHOWStudio’s new series PRINT features an interview with me by editor Lou Stoppard about my magazine archive.

There is also a section dedicated to images from the archive, including front covers, spreads and ads.

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I Groaned With Pain: Malcolm McLaren’s own t-shirts to feature in exhibition of status quo-disrupters

Jul 17th, 2015
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//The t-shirts show the deliberate production of variants within the limited edition designed and written by McLaren and printed on the simple square pattern produced by Vivienne Westwood in 1974. © Malcolm McLaren Estate//

Two of Malcolm McLaren’s t-shirts from the very first production run of I Groaned With Pain – the notorious text design produced with Vivienne Westwood in 1974 – will be featured in Eyes For Blowing Up Bridges, the exhibition I am co-curating with David Thorp at Southampton’s John Hansard Gallery this autumn.

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//T-shirt with central tear on light blue jersey with exterior seaming, labelled, Malcolm McLaren and Vivienne Westwood, 1974. 360mm x 375mm. © Malcolm McLaren Estate//

I Groaned With Pain is named after the first four words of the paragraph of text McLaren lifted from beat writer Alexander Trocchi’s erotic novel Helen And Desire (published in 1954 by Olympia Press under the pseudonym Francis Lengel).

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The story of the Sex shop leather hood: From harmless fetish attire (as sported by David Bowie?) to theatre of cruelty design totem

Jul 14th, 2015

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//Left: Detail of photo of model posing in leather Sex hood, autumn 1974. Photo: © David Parkinson. Right: David Bowie in leather hood, summer 1974, Sherry Netherland Hotel, New York. Photo: Dana Gillespie//

My recent post about David Bowie’s visits in 1974 to 430 King’s Road when it was in its Too Fast To Live Too Young To Die incarnation prompted Facebook friend and DJ Graham “Sugarlump” Evans to alert me to Polaroid photographs of David Bowie trying out make-up, hair and styling options in preparation for his Diamond Dogs tour of the US that year.

David Bowie in Sex Gimp Mask 1974

// Polaroid taken by Dana Gillespie in New York in 1974//

In one, as Evans points out, Bowie posed in a leather hood of similar style to the model sold at 430 as it was transformed over a period of six months from TFTL to fetish emporium Sex.

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‘They had the t-shirt off his back’: The 40th anniversary of the creation of the notorious Cowboys t-shirt + the obscenity debate it sparked in the pages of The Guardian

Jul 11th, 2015
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//Nicolas de Jongh’s front-page report, The Guardian, August 2, 1975//

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//Sex Original-labelled Cowboys t-shirt courtesy Hiroshi Fujiwara Collection//

This month – specifically July 26 – marks the 40th anniversary of the introduction for sale of Malcolm McLaren’s notorious Cowboys t-shirt in Sex, the revolutionary boutique he operated at 430 King’s Road with Vivienne Westwood.

The shirt’s status as the most provocative of all punk designs is enhanced by the fact that it made waves immediately: the same day the shirt went on sale, the first customer to wear it in public was arrested. Within 24 hours, the store itself was raided for indecency.

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David Bowie’s unwitting role in the transformation of 430 King’s Road from Too Fast To Live Too Young To Die to SEX

Jul 10th, 2015
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//David Bowie recording the Diamond Dogs LP at Olympic Studios, Barnes, south-west London, January 1974 during his residency in Chelsea’s Oakley Street. Photo © Kate Simon//

1. BLOW UP TFTLTYTD front

//Malcolm McLaren and Gerry Goldstein in front of the Too Fast To Live Too Young To Die facade, 430 King’s Road, London, summer 1973. © Malcolm McLaren Estate//

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//Malcolm McLaren in Too Fast To Live Too Young To Die designs, Chelsea, London, from New Musical Express, April 6, 1974 . Photo: © Pennie Smith//

It is a little known fact that David Bowie was an occasional visitor to 430 King’s Road when it was operating as Too Fast To Live Too Young To Die.

This manifestation of Malcolm McLaren and Vivienne Westwood’s revolutionary boutique  – which paid design tribute to the fetishistic studded leather attire of Britain’s early 60s Ton Up Boys and rockers and sold the cult clothing associated with 40s mobsters and Latino zoot suit rioters – succeeded the 50s outlet Let It Rock in the early spring of 1973, as noted at the time by the fashion writer Catherine Tennant in British Vogue.

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//From British Vogue, April 1, 1973//

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Print @ ShowStudio: Lou Stoppard on the abiding allure of inspirational and off-the-map magazines

Jun 26th, 2015

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//Magazines from my archive (clockwise from top left): Creem, August 1974; Grand Royal #3, 1995; Club International, August 1973; Harpers & Queen, October 1976//

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//After Dark, September 1974; Ben Is Dead #26, 1996//

I’m one of the contributors to Print, writer Lou Stoppard’s forthcoming celebration of the great fashion and music magazines of the past and present.

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In search of the entirely unexpected: Barney Bubbles among Print magazine’s Unsung Heroes Of Design

Jun 16th, 2015

 

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//From Print’s 75th anniversary issue, illustrations (clockwise from top left): A section of Bubbles’ design for the sleeve of 1979 LP Armed Forces lines up with work by Ruth Ansel, Andrew Loomis, Ladislaw Sutnar, Cipe Pineles and Paul Bacon//

For its 75th anniversary issue, US visual culture publication Print has selected Barney Bubbles as one of six “unsung heroes of design”.

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Barney Bubbles designs go regional at the National Museum Cardiff + Ludlow Fringe Art Trail

Jun 16th, 2015
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//A doozy: This point-of-sale design by Barney Bubbles for Elvis Costello & The Attractions’ 1980 LP Get Happy!! is among rare rock posters on show at Mod Lang in Ludlow. Photo: Paul Bradshaw//

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.

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Malcolm McLaren in Witches trenchcoat on the steps of the British Museum 1983

Jun 9th, 2015

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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.

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Richard Hambleton + Malcolm McLaren = Witches x The Shadow Man

May 27th, 2015
Malcolm McLaren posing on the streets of NYC. April 1983. © Bob Gruen / www.bobgruen.com Please contact Bob Gruen's studio to purchase a print or license this photo. email: websitemail01@aol.com phone: 212-691-0391

//Malcolm McLaren and Andrea Linz with a Hambleton Shadow Man in the West Village, NYC, April 1983. © Bob Gruen/www.bobgruen.com. Please contact Bob Gruen’s studio to purchase a print or license this photo. Email: websitemail01@aol.com Phone: + 212-691-0391//

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//Witches Shadow Man skirt, 1983. Malcolm McLaren, Vivienne Westwood and Richard Hambleton. This image (c) www.paulgormanis.com//

An under-acknowledged art world connection forged by Malcolm McLaren during his fashion design partnership with Vivienne Westwood was to the godfather of street art, conceptual artist Richard Hambleton.

During his forays in New York in the early 80s, McLaren was struck by Hambleton’s eerie representations of The Shadow Man figure; there was one on a wall in Bethune Street in the West Village, near the studio of McLaren’s photographer friend and ally Bob Gruen.

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