Paul Gorman is…

The Family Acid: New book of the photography of a psychedelic pioneer, reggae archivist, actor and anthologist

Nov 17th, 2014

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One of my favourite Instagram feeds is The Family Acid, run by Kate Steffens, daughter of reggae archivist, actor, anthologist, psychedelic pioneer and photographer Roger Steffens.

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Plagiarism row over Vivienne Westwood book goes international

Nov 17th, 2014
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//Sydney Morning Herald, November 9, 2014//

My legal claim against Vivienne Westwood, her co-author Ian Kelly and publisher Picador over plagiarism of my work in the recently published memoir of the British fashion designer has been featured across the Australian media.

I was interviewed in Melbourne by Jason Steger, literary editor of The Age, whose article about substantial plagiarism from my book The Look as well as a multitude of factual errors, potential libels and serial failure to correctly credit photographers was picked up by the Sydney Morning Herald and Australia’s book industry magazine Books + Publishing.

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What We Wore: An intelligent and egalitarian celebration of our collective visual invention

Oct 30th, 2014
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//Left: Among the contributors Ian Johns, Mark Wigan, Nendie Pinto-Duschinsky and Andrew Gallix. Right: Fred Butler 1995-2001 and Tracey Emin in 1995//

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//Winston Milton and friends, Hackney 1993-8//

Into the over-worked field of ‘street style’ comes a breath of fresh air: What We Wore – A People’s History Of British Style.

Free of cliche and pretension, Nina Manandhar and Eva Dawoud’s book compiles the personal images and anecdotes of a hugely diverse set of contributors.

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//Left: Caroline Milne, Ghetto, London, 1999; DJ Dazee and DJ Rap, Bristol, 1997. Right: Nancy Thornber, Essential Festival, London, 2001//

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//Juliette Hedoin and friends clubbing in London and Ayia Napa 1995-2002//

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//Gavin Watson and friends on the skinhead scene, 1982-5//

The book is not dominated by well-known people and the usual suspects who patronise this narrative (though I snuck in there) and so is true to the subtitle; What We Wore celebrates in a thoroughly egalitarian manner “the presentation of self” – Erving Goffman’s phrase as cited by Ted Polhemus in his excellent foreword.

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//Don Letts with friends, London, 1971 (right) and 1973//

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//Russel Coulthart and friends at Rockley Sands, Dorset, 1988//

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//Left: Diane El Dabi, London, 1979. Right: Cassie Clarke, London, 2002//

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//Left: Mimi Joshua-Olushoga, London, 1971. Right: John O’Connor, Leeds, 1982 and Teo Connor, London, 1994//

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//Left: Michael Dipple and friend, London 1980. Right: Jock Scot and Anna Chancellor, London, 1986//

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//Me, London 1973, Ibiza, 1986, Portugal, 1982//

What We Wore is a fitting testament to our collective visual invention. I recommend it highly.

Buy What We Wore here.

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Toyah Willcox and Midge Ure worked in Sex… Nostalgia Of Mud sold bondage trousers… Philip Hoare’s compromised review littered with as many howlers as contained in the Vivienne Westwood book

Oct 25th, 2014

It will be frustrating for publisher Picador and their authors Ian Kelly and Vivienne Westwood that novelist Philip Hoare’s national paper five-star review of memoir Vivienne Westwood is rendered unreliable by, pro rata, as many inaccuracies as contained in the book itself.

Holed by these gaffes, the review – in the Sunday Telegraph’s Seven magazine published October 26 – is capsized by Hoare’s failure to declare a significant interest.

In Kelly’s acknowledgements, Hoare’s name appears first on the list of those who extended to the author “accommodation, guidance, encouragement and friendship on this project”.

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//Errors pile up in Philip Hoare’s review of Vivienne Westwood in the Sunday Telegraph’s Seven Magazine, October 26, 2014//

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//Philip Hoare’s name appears first in this section of Ian Kelly’s acknowledgements on p427 of the memoir Vivienne Westwood//

On the basis that phrases such as “fetishistically brilliant” justify a thumbs-up, Hoare’s review arrived in the wake of the media coverage of my claim against the publisher and the authors over substantial plagiarisation of my book The Look in Vivienne Westwood.

Since I have publicly charged the book with major-league sloppiness, this positive review by a relatively well-known literary figure may be framed in the context of a push to restore credibility to the troubled project (as well as the plagiarisation and the huge amount of factual errors, the book is held to contain at least one serious libel and fails to provide proper credit for a number of photographers).

Hoare – who has post-punk associations, having worked in west London record shop Rough Trade and managed the indie group the Pale Fountains – bravely inserts himself into the piece with personal memories of Westwood’s design business with Malcolm McLaren in the 70s and 80s.

According to Hoare – and these are his additions to the blunders already piled high by the 458-page tome – the shop assistants at 430 Kings Road in its incarnation as Sex included not only musician Midge Ure but also actress/performer Toyah Willcox.

Of course neither was employed there. Hoare has simply confused each person’s tangential relationships to the McLaren/Westwood coterie: it is well known that Ure was once approached as a possible singer for the Sex Pistols during their formative stage, while Willcox appeared in Derek Jarman’s 1978 punk movie Jubilee (the subject of a salty attack printed onto a t-shirt by Westwood).

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//Midge Ure, kneeling, with his Slik bandmates on the cover of their 1976 LP//

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//Toyah Willcox in 70s TV production The Corn Is Green (from www.toyah.net)//

During the period Hoare is discussing, Ure had already hit the number one spot with Scottish teen-pop band Slik while Willcox was making her acting bones in Birmingham Old Rep before transferring to the National Theatre. A simple check in one of the reliable published sources – of course I recommend The Look – would have put him right.

Against these howlers, we can generously attribute to memory failings Hoare’s depiction of shop manager Jordan’s “Kandinsky make-up” (it was avowedly based on the work of Mondrian and introduced in 1977 during the later Seditionaries phase) and the “scaffolding rails” in Sex (they were made of curved chrome and expertly-turned wooden gym bar racks courtesy of the trained wheelwright Vic Mead) and instead study Hoare’s ownership of a pair of bondage trousers bought at Nostalgia Of Mud, McLaren and Westwood’s store in St Christopher’s Place in London’s West End.

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//Nostalgia Of Mud – opened to promote the clothing in the companion catwalk collection (also known as Buffalo) – did not sell bondage trousers nor any other punk designs//

Bondage trousers were not sold at NoM, which opened in spring 1982. By this time McLaren and Westwood had publicly rejected these and other designs produced at the height of punk six years earlier.

In fact so vehement was their abandonment of the punk-era garments that Westwood licensed all the designs, include the patterns for the bondage trousers, to King’s Road store Boy, which was knocking them out in inferior copies by the hundred by spring 1982.

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//Hoare cites the plagiarised passage in his review//

Hoare – who has prior in giving glowing reviews to Kelly’s previous books – compounds the mistakes in his review by quoting one of the plagiarised passages from my book: “Sex,” Westwood tells Kelly,”translated into fashion becomes fetish…the very embodiment of youth’s assumption to mortality.”

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//From McLaren’s intro to The Look, which he supplied to me exclusively in the spring of 2000//

As pointed out here last week, and as my lawyers have communicated to Westwood, Kelly and Picador, this is one of 40 passages in Vivienne Westwood which bear close resemblance to text in my book, in this case from the introduction written by McLaren nearly a decade-and-a-half ago: “Sex translated into fashion becomes fetish, and fetishism is the very embodiment of youth. Youth has to behave irreverently – it has to take drugs because of its fundamental belief in its own immortality.”

Read Hoare’s review here.

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“He has never lost his wonder at the world” David Hockney’s preface to the Derek Boshier monograph

Oct 23rd, 2014
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//David Hockney 22 Times, Derek Boshier, 2014. 31 x 42 inches. Ink on Archer’s paper//

I’m delighted to announce that David Hockney has written the preface to Rethink/Re-Entry, the Derek Boshier monograph I am editing.

In the piece, Hockney points out that they have known each other since 1957, and that Boshier “like me, is an artist, and one who has never lost his wonder at the world”.

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//Derek Boshier and I at the opening of his 2012 exhibition David Bowie + The Clash at Pallant House Gallery, Chichester, Sussex//

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The Look and Vivienne Westwood: A question of attribution

Oct 15th, 2014
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//Vivienne Westwood quoted on p85 of her new book written with Ian Kelly and published by Picador this month. This is also spoken in Westwood’s accent by the actress Paula Wilcox in the audiobook which has been published here and in the US//

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//Westwood’s former partner Malcolm McLaren said this to me during a 1999 interview. Subsequently I quoted him on page 22 of my book The Look: Adventures In Rock & Pop Fashion, first published in 2001, second edition 2006//

Jenni Murray: You’ve said ‘clothes were politics long before fashion’. What did you mean by that?

Vivienne Westwood: I have no idea.

Jenni Murray: Was it something you said to Ian (Kelly) and now you’ve forgotten?

Vivienne Westwood: No…is that what it says in the book?

Jenni Murray: Yes

Vivienne Westwood: Well then, he might have got a misquote from somewhere.

Woman’s Hour, BBC Radio 4, October 14, 2014

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I respect Dame Vivienne Westwood’s achievements; she has been a significant figure in shaping our collective visual identity.

As someone who is driven to investigate and interpret visual culture, that is important to me. I dedicated a chapter and sections to Westwood’s contribution to fashion with and without Malcolm McLaren in the 2001 and 2006 editions of The Look: Adventures In Rock & Pop Fashion.

But she is ill-served by the sloppy new book Vivienne Westwood, recently published by Picador and written by actor/author Ian Kelly.

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Photography books: Punk Rockers! by Alain Dister

Oct 9th, 2014
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//Vivienne Westwood and Malcolm McLaren, Paris, November 1973. (c) Alain Dister//

A photograph of Vivienne Westwood – credited to the fashion designer’s archive in the new Westwood book with Ian Kelly – put me in mind of an image I have in one of my many books in storage.

At first I couldn’t put my finger on the particular tome. Then bingo! Bought eight years ago on publication, the France-only publication Punk Rockers! is a compendium of the photography of the late Alain Dister from the early 70s to the mid-00s.

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//Johnny Thunders, David JoHansen, Sylvain Sylvain, Paris, November 1973. (c) Alain Dister//

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//Left: Westwood and McLaren. Right: Seditionaries frontage 1978. (c) Alain Dister//

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//Book jacket photo of unidentified female punk rocker taken in Seattle, 1996. (c) Alain Dister//

Among the photographs Dister discusses in the brief foreword is one of Westwood with Malcolm McLaren when they journeyed to Paris to witness a gig by the New York Dolls at the Olympia Theatre in November 1973. This is clearly one of a sequence taken by Dister and featured in Westwood’s book.

As Dister writes, McLaren was “habillé en Teddy Boy années 50″. In photographs taken at the French capital’s Belle Epoque brasserie La Coupole – where we were happily ensconced with the Dolls’ confrère Marc Zermati only last year – the American proto-punk group is shown in all their glory, with guitarist Sylvain Sylvain resplendent in a zippered wool/mohair Let It Rock creation.

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//London 1978. (c) Alain Dister//

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//Fans at Sex Pistols reunion concert, Finsbury Park, north London, 1996. (c) Alain Dister//

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//Left: Berlin 1998. Right: Seattle, 1996//

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//Left: Yoyogi Park, Tokyo, 2002. Right: Sheena, Tokyo 2002//

Punk Rockers! is a valuable document; Dister cast his unstinting eye as punk mutated from London and New York in the 70s to blossom in such cities as Berlin in the 80s, Seattle in the 90s and Tokyo in the 00s.

Former Melody Maker journalist Chris Charlesworth provides a fascinating snapshot of the Dolls at their debauched peak in Paris here.

Buy copies of Punk Rockers! here.

Dister died in 2008; here is his website.

Vivienne Westwood by Vivienne Westwood and Ian Kelly is reviewed here.

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Malcolm McLaren exhibition: The roots of Savages + his copy of Mable Morrow’s folk art book Indian Rawhide

Jul 30th, 2014
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//Malcolm McLaren’s copy of Mable Morrow’s Indian Rawhide: An American Folk Art, published by Oklahoma University Press as part of the Civilization Of American Indian series in 1975//

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//Annotated page showing design for a parfleche (painted hide) of the Dakota//

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//Savages dress in thick jersey and cotton with overprinted lettering. Design: Malcolm McLaren and Vivienne Westwood for Worlds End, 1982. Private collection//

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.

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//Assiniboin parfleche design collected on the Fort Belknap Reservation, Montana//

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//Savages soft jersey top with contrasting armpit inserts and neck yolk. Designed by Malcolm McLaren and Vivienne Westwood for Worlds End, 1982. Private collection.//

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.

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The ART SCHOOL and the CULTURE SHED

Jun 18th, 2014

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John Beck and Matthew Cornford’s intelligent and measured book The Art School And The Culture Shed may be a slim volume but it packs a hell of a punch in locating the ravages wreaked on our cultural life over the past 20 years by privatisation, the failings of local councils and town planners and the depredations of property developers.

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//Left: Moseley School Of Art, closed 1975. Right: The site of Sidcup School Of Art, occupied since 2010 by a Morrisons and a car park//

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I Knew Jim Knew: Jim Walrod knows a thing or two…

May 27th, 2014
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//Jacket photograph Terry Richardson with shots from Walrod’s Instagram feed//

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.

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