And a miserable day to you too

2010
0909


And a miserable day to you too


Expo Darcel Disappoints chez Colette

halbwach/halbschlafend

2010
0908

Es gibt schlimme Zeiten, oft über Monate, da stehe ich in Allerherrgottsfrühe um 5 Uhr morgens auf – das ist das Schrecklichste, es gibt wirklich nichts Schlimmeres für mich. Dabei gibt es kaum Schöneres als morgens halbwach/halbschlafend im Bett zu liegen. – und fange um 6 Uhr an zu arbeiten, damit ich bis zum allgemeinen Arbeitsbeginn um 10:00 einiges weggeschafft habe. Das sind kostbare vier Stunden, von denen fast niemand weiß oder sie je honorieren wird, aber es ist die einzige Möglichkeit für mich den Tag vorzubereiten, mich meinen Aufgaben zu stellen, mich zu sensibilisieren, was mir sehr wichtig ist.

Mario Lombardo in Bunte Unordnung

(Bureau Mario Lombardo)

Put This On: Work

2010
0907


Put This On, Episode 3: Work

FREITAG am Donnerstag

2010
0907

FREITAG am Donnerstag, a mini lecture series by Tina Roth Eisenberg for FREITAG with Khoi Vinh, David Rowan and Peter Hossli.

(THE DAILY REFERENCE)

Die Minarett-Initiative als Kunstprojekt

2010
0907

Die SVP hat also etwas gemacht, was sonst die Kunst macht – das Spiel mit den Zeichen ist eigentlich Sache der Kunst.
Q: Die Minarett-Initiative war also ein Kunstprojekt?
A: Ja. Aber mit einem entscheidenden Unterschied: Die Initiative hat realpolitische Folgen. Als Performance wäre die Initiative durchaus in Ordnung gewesen.

Guy Krneta

Cyprien Gaillard

2010
0830


Tate Shots – Cyprien Gaillard

(more cyprien gaillard)

Walter, Walter, Walter

2010
0826

Q: What was it that inspired you to start designing?
A: The main reason was David Bowie’s Ziggy Stardust period. I liked the fact that you could communicate different ideas through changing your image.

We knew being together helped us work, but we didn’t know what it would become.

Q: Your sexuality, and sexuality in general, is something you have worked through all of your collections. Why do you like discussing that through fashion?
A: It’s not that I want to discuss it, but it is a part of me that is very important.

I am so surprised that in 2010 people are still shocked by elements of sex and sexuality, as well as race and religion. These differences in people seem completely normal to me, and I am rather confused that it is not like that for everyone.

I feel there is a new world rising, one where everyone’s nationalities will be so mixed that you end up with a new race. It is also a reaction to how people are judged by their skin colour, I used embroidery and fabric with holes so that you get to see the colour of the skin underneath.

Dazed Digital x Walter Van Beirendonck

(Walter Van Beirendonck)

Tom Ford in terms of the grooming

2010
0825

I’m not a guy who’s sartorial. I’m not Tom Ford in terms of the grooming and the knowledge of clothes and the precision and perfection of getting dressed. There’s nothing I can wear in this ad that isn’t going to look ridiculous. At one point, I tried jeans and a shirt, and it didn’t work. So then Juergen said, «Take off the clothes.» So I did, and that became the ad.

Basically, I’m in a kilt and a white shirt every day. So, you know, I don’t have a lot of scope, and I’m really picky about what I wear. Even if it’s weird, it’s very particular to me. And you can’t make a business out of what I would wear. We’d be out of business.

I’m an American in Paris being a French designer, having the people come with the embroidery samples and the button samples. It’s very French fashion design. I think of it like I’m in a movie. Like it’s not real.

The first season I was there, I thought I was going to be so clever and put the logo inside the coat and the main Louis Vuitton behind the button, like underneath the button, and the first thing the salespeople in the shop asked me was “Is the coat reversible, and can you turn the buttons around?” So I realized this is a lost cause. Let’s not hide it; it has to be flaunted.

Marc Jacobs

Zum Glück in die Zukunft

2010
0816


continue reading…

Peanut Butter Wolf

2010
0802

When I first was interested in Mayer Hawthorne, it was despite the fact that he was doing 60’s and 70’s throwback music. On paper he was a “blue eyed soulful Motown/Stax sounding artist”, I would’ve never signed him.

I didn’t even like Northern Soul back when everyone else was liking it.

If these major label guys knew better, they’d try to hire me to do A & R for them. All the coolest artists come to me to release their music now.

Peanut Butter Wolf – Bridging Vinyl & Digital

Hedi Slimane

2010
0801

Das Einzige, was von den Sachen bleibt, sind die Bilder davon, von den Jungs und Mädchen, die sie getragen haben.

Ich habe auch keinen Schimmer, in welche Richtung es mit der Männermode geht. Es ist mir auch vollkommen gleichgültig.

Ich bin besessen von diesem kurzen Moment der Gnade bei Jungen und Mädchen—diesem Augenblick, in dem alles möglich ist, unmittelbar vor dem Niedergang oder dem Chaos, bevor also diese Ernüchterung einsetzt, weil einem bewusst wird, dass alles einmal zu Ende geht.

Die Jungs und Mädchen, die ich mag, sind fast austauschbar, so wie in dem Blur-Song. Ich würde gern mehr für Mädchen machen, sie mehr um mich haben.

Das ist vielleicht das Wichtigste überhaupt für mich. Leute, die nicht in meine Sachen hineinpassen? Na ja, irgendwann musste ich mich einfach dazu durchringen, mich konsequent an den Look zu halten, den ich vor Augen hatte. Es gibt ja auch andere Sachen, die man anziehen kann, oder mit ein bisschen Hilfe auch die Möglichkeit, doch irgendwie hineinzupassen. Mädchen müssen ständig mit so etwas umgehen, da ist es doch eigentlich nur fair, dass Jungs auch mal an sich arbeiten müssen, finde ich.

Hedi Slimane

Steve van Doren

2010
0801

Since 1900 there had only been 3 companies that had manufactured vulcanized footwear in the US, Randy’s, Keds and Converse.
And now there was Vans…

[…] if he made one pair of shoes and it cost him $10,000 for all the manufacturing, it was $10,000 a pair. If he made 1000 pairs of shoes it was costing him $10 a pair. If he was making 10,000 pairs it only cost him a dollar.

The first cheque we ever wrote was to Stacey Peralta, I think we were paying him about $300 to wear the shoe and he was travelling world wide.

We don’t have what Nike has, all kinds of athletic stuff. We had a canvas shoe and we’re trying to make it look like a marquee diamond. So how do we do that? With colours and fabrics.

All the money we were making on checkerboard, we were wasting it on all of these lasts, dyes, materials, everything you could imagine on these athletic shoes. And it wasn’t selling. People don’t know Vans for that. You got big powerhouses like Adidas, Nike and Puma and we were just getting our butts kicked on the athletic shoes.

The History of Vans

Nardwuar vs. Motorhead

2010
0801


Nardwuar vs. Motorhead

↑ back to top