Happiness is to be found when in pursuit of it, in the soothed expectation, on the way, not only upon the arrival. Accepting detours, just going the way, which is anyhow not this obvious to anyone.
Happiness is just a hairflip away.
"The way the system works now, you see the clothes, within an hour or so they're online, the world sees them. They don't get to a store for six months. The next week, young celebrity girls are wearing them on red carpets. They're in every magazine. The customer is bored with those clothes by the time they get to the store. They're overexposed, you're tired of them, they've lost their freshness".
You could discover them on Morphosis last year with their hit "The strip" (here) -taken from their début EP "Mirage", winner of a Scandinavian Soul Music award last month. The Danish threesome is back today with a new single titled "Heat" -the first taste of their upcoming first album scheduled for release later this year with Universal Records. Produced by Sune Rask, David Mørup and Jean-Marie Horvat, this old school R'n'B song is fused with Michael Jackson inspired touches delivered by frontman Emil Goll's irresistible soulful vocals and the recognisable Scarlet Pleasure contemporary Eighties sound. Get ready to trip the light fantastic ! The accompanying video was directed by Christophe Dolce Rocca. The boys continue their rise in Denmark and will start touring next week.
"Narcissism is an art" is the title of this cover story by René Gloor featuring Ton Heukels groomed by Natalia Sprem & Chiao Chenet and photographed by René Gloor for the current issue of Paris-based Swedish fash mag Narcisse.
"Torn" is the title of this editorial by René Gloor featuring Charles Leto, Maxim Steklyanov, Nate Hill and David Trulík groomed by Eny Whitehead & Kazue Deki and shot by Emmanuel Giraud for the current issue of Paris-based Swedish fash mag Narcisse.
"I do my best when I'm working on two projects in unison", said Jonathan Saunders while he was prepping the presentation of his Resort collection and his menswear for Spring 2015. "And there's always been such a great relationship between these two collections that I thought, 'Why not show them together ?' ". It's true that in the past, his guys and his resort girls have always made a dream team, but there was a special something about this pairing, maybe because it looked so grown-up. That had a lot to do with what he was thinking about while he was creating. He studied furniture design back in Glasgow, and someone with his graphic sensibility was inevitably drawn to Ettore Sottsass, figurehead of the epochal Memphis movement and, before that, Alchimia. Jonathan Saunders' new collections reflected the lush mood of the hyper-sophisticated world pictured by Italian design magazines like Domus and Casa Vogue in the Seventies. His accents were brashly luxe, gold, bronze and silver, spectacular in a Lurex lamé skirt, more subtle in the foil stripes screen-printed on a cotton tee, or the broken pattern used throughout that looked like a print but was actually lamé bonded on fabric. The designer made his name with engineered prints, so he has always had the ability to trick the eye. As he's grown, those tricks have become so subtle as to pass without mention, and yet they are still real feats of fabric technology. One singular effect here was the way he integrated mesh yarn into his knitwear, to create a springy lightness. The pleasure he once took from print is now matched by his appreciation of texture. "Joy in decoration", he called it. The stripes on two coats and a blouson were actually stitched together, like Frankenstein's monster. And there was an element of surprise in the clothes, like a bonded satin tunic that flipped up to reveal a flash of deep turquoise. The caramel-y confidence of Jonathan Saunders' new work had a distinctly bourgeois feel. Whenever he turned his attention to the indiscreet charms of the bourgeoisie in the past, he ended up with sly takes on the overly medicated or the swinging sexaholic or the plain unhinged. These collections were much more straightforward, more commercial. But there were a few knowing reminders of the designer's taste for tack, among them the pool-slides that Natalie Westling wore with her gold skirt, and the spatter pattern that was the dominant visual element in both women's and menswear. It looked like grand star maps, but it was actually borrowed from cheap Formica floor tiles. Ettore Sottsass himself couldn't have pulled off a better alchemy.
Posted by Lestat at 12:05 AM