//Wild youth: Scenes of abandon from Twist Drunk/Drunk Twist in Ark 33. Photos: Keith Branscombe//
//Cover, Ark 33, Autumn 1962. Photography: Keith Branscombe//
The publication of issue 33 of the Royal College of Art’s magazine ARK in the autumn of 1962 hit the moment in terms of the turbo-charging of contemporary youth culture.
The booklet we have produced to accompany new Somerset House exhibition PRINT! Tearing It Up is in keeping with the show’s fluoro punk aesthetic and DIY theme.
The new issue of international interiors magazine apartamento includes my feature about British artist Duggie Fields and his extraordinary mansion flat in inner west London neighbourhood Earl’s Court.
//ECC’s sign on the facade of the Time Out offices at 374 Gray’s Inn Road, King’s Cross, London, autumn 1970. Photos courtesy Electric Colour Company/Andrew Greaves//
Recent encounters with Time Out founder Tony Elliott have brought to mind the audacious sign created by design collective Electric Colour Company to mark the magazine’s move into premises at 374 Gray’s Inn Road.
//Catalogue cover featuring detail of Tête Cultivée, Nicola L, 1970//
As befits a sorely-missed man of singular style and taste, the catalogue for the forthcoming sale Furniture Pimp: The Collection Of Jim Walrod is an absolute treat.
//Right: Walrod at home photographed by Collin Hughes; Left: works featured in the forthcoming sale//
This summer I am staging PRINT! Tearing It Up, an exhibition at central London’s Somerset House which investigates and celebrates the power of independently produced British magazines and journals.
I am the subject of the My Design London page in today’s edition of the capital’s Evening Standard newspaper.
In Liz Hoggard’s piece, I talk about some of the places which help make this the greatest city in the world, from our local patisserie WA Cafe and picture framers For Art’s Sake to Mayfair jewellers/art space Belmacz, Hackney Road’s Two Columbia Road and M. Goldstein and the galleries Richard Saltoun and Chelsea Space.
Copies of the Standard are available free to commuters on Greater London’s transport system. The piece will be posted on the Standard’s site soon.
Frédéric Sanchez’s composition for Prada’s A/W 2018 collections is a little wonder.
Enjoy it here:
Keep up with Sanchez here.
//Left: detail, outer gatefold illustration by Holly Hollington, Greasy Truckers At Dingwalls Dancehall, Greasy Truckers Records, 1973; right: Uschi Obermaier and Michael J. Pollard, Oui, October 1973. Photo: Chris von Wangenheim//
//Left: Detail, uncredited cover photo, Oui, Oct 1973. Art director: Don Menell; right: detail; Greasy Truckers sleeve//
Recently I obtained a pristine copy of the October 1973 issue of American men’s magazine Oui, which contains a Chris von Wangenheim fashion shoot featuring actors Michael J. Pollard and Uschi Obermaier .
//Left: DJ figure; right: Music press ad, January 1979. Image: Brooklyn Vegan//
Thanks to my FB friend Vadim Kosmos for alerting me to this (I am not keen on Star Wars so avoid media coverage): a reference in the latest film in the franchise, The Last Jedi, to the Barney Bubbles/Jake Riviera advertising campaign for Elvis Costello And The Attractions’ 1979 LP Armed Forces.
In The Last Jedi Benicio del Toro plays an opportunistic hacker referred to as “DJ”; for some time there has been speculation as to what the initials stand for.
Now director Rian Johnson has revealed they represent “Don’t Join!”, the slogan used in British music press ads for Armed Forces which featured in my Bubbles’ monograph Reasons To Be Cheerful.
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