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KABUKI DOES MAKEUP

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Look what came in my in-box this week, the legendary makeup artist Kabuki sent me a message about a competition My Face Cosmetics (Kabuki's the artistic director) are running. I've always been a fan of Kabuki's work and this is a great chance to win some cosmetics and get a signed illustration of an original Kabuki drawing. I'm little bit jealous as I'd like one of his drawings myself. I interviewed Kabuki for iD magazine a while ago so for those of you not so aufait with him I thought I'd put it up... meanwhile here's the details of the Halloween competition, you can find out more by going to their fb page myface.cosmetics where you simply upload your looks to enter.


You were a “club” legend early on and now you’ve become
a “make-up” legend, tell me darling, what made you cross over
into piling make-up onto others rather than yourself?
"The crossover to professional make-up artist happened because Pat Field
called me up out of the blue and asked if I was interested in being the make-
up artist for a new TV show called “Sex and the City” that she was going to
start styling. I’d recently done some test shots so I had something besides
snapshots of myself to show the producers and Sarah Jessica Parker. Before
that happened, I’d had no career ambitions or plan. It all seemed beyond my
control. My interest in make-up was purely personal expression. I’d started
wearing make-up in broad daylight at age 14, before I moved to New York City. I
was the Naked Civil Servant of the redneck section of Florida.”

Who were your first subjects?
“I learned the most from painting myself because I could spend hours and
hours doing it. I had a club kid friend named Jodee Jingles. We’d go to Disco
200 together and she’d nag me to do her make-up. But I’d be so burnt out after
spending hours on my face, I’d just slap something on her in 5 minutes. Once
I painted her face white, then ringed her eyes in black liquid liner, then another
ring and then another, until her whole face was full. That night we saw Olympia,
the bartending drag mother/club legend. She was well known for always having
varied and theatrical make-ups. She screamed in excitement: “Let me look! I’ve
never thought of that before – the onion!”

Who or what inspired you initially?
“Erte, Boy George, Grace Jones, Oriental art, the New Romantics. My first make-
up inspiration was definitely Richard Sharah’s work in the “Ashes to Ashes” video
and his Zandra Rhodes stuff. I didn’t actually see the “Fade to Grey” video until
the late 90’s having been stuck in Kissimmee, Florida when it came out. I also
loved all the faces of Bowie, especially the cover of “Pin Ups” with Twiggy. I
was so occupied drawing and painting my own fantasy illustrations as a child.
There’s a video on youtube called “Kabuki Starshine on Kidsworld”. I would also
make dolls by painting faces on wooden spoons, so I guess those were my first
inspirations.”

Nowadays, you are constantly in demand and your work covers
a spectrum of sublime, beautiful and fantastical visions. What
keeps you enthralled with creating such concepts?
“What keeps me going is working with great stylists and photographers who, like
me, care, almost neurotically, about the standard of their work. I hate working
with lazy people; what’s the point? Also, I’m so lucky to have some very beautiful
and interesting faces to work on.”

So, the Mac master class tour, what’s it like? Do you find yourself
being quite technical about it?
“I think I made the right decision not to talk at all whilst working on the stage
and then have a full question-and-answer session afterwards. My partner/agent,
Chuck Fiorello, put the music together, which enhances the feeling of each of
the three looks I demonstrate. The music cues let me know if I’m on schedule
or running long. I start by demonstrating a glamorous smokey eye look taken to
an editorial level. Next I do the Kylie cd cover look. The last look is much more
intense and bizarre. I originally did this look on Karen Elson in Italian Vogue in
2004.”

What kind of projects do you find challenging? Do you have an
amusing story?
“Many of my jobs are very challenging, requiring a huge amount of preparation,
time and work. Occasionally, I have one that is so easy that I wonder “Why am I
here?” So I guess there’s no pleasing me. Usually the packing and the prepping
is more stressful than the actual day of the shoot or the fashion show. I’ve done
shows where I worked for three days without sleep. Manish Arora, Boudicca, if
you look closely, you’ll see my bloodstains on their clothes…”

Do you find yourself subconsciously picking up ideas for
new “looks” in really random places?
“Not subconsciously, really. I’m usually given a theme and then I take if from
there. When Manish Arora did his medieval themed collection, I designed a mask
based on a chastity belt to compliment the make-up look. I sent the prototype to
India and then I put the finishing touches on it Paris. That mask had a second
life after the show, popping up in Italian Vogue, Numero and on Kate Moss’s
Interview cover.”

What’s the most obscure, maddest place or person that’s inspired
you?
“I don’t know, Boy George is pretty mad…”

I heard there’s a trend for a “nude” look, which do you enjoy
applying most… a lot of make-up that looks like it’s not there or a
lot of make-up that most certainly is there?
“To be honest, I like both really. Variety is the spice of life; something’s got to
be…”

Personality or celebrity-wise, have you ever been in awe of your
subject?
“Once in a while but I get over it quickly. If I’m trembling, I can’t work. When you
meet someone famous, there’s the weirdness of thinking you know them, but of
course you don’t. I thought I might faint when I met Michael Jackson, but I didn’t.
I did two shoots with him and he couldn’t have been nicer.”

Talking fashion shows, which have been your most challenging,
surprising and favourites?
“The shows that are my favorites are the ones that are the least challenging
or surprising. My team shows up 3 hours before the show and I have to have
everything ready for them. If it’s too confusing, too weird, too far out of their
comfort zone or they simply can’t handle it, I have to run around fixing everything
like a demented bee. Thus, with the shows that everyone seems to remember
most, I’m up nights trying to push them out of my mind.”

When you’re not thinking about “make-up” what do you think
about?
“I think about getting my hands on Harper’s Bazaar’s from the 1910’s and 1920’s,
the ones with the Erte covers. I think about Liza a lot too.”



Band Round Up... Bo Ningen, Blue On Blue

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Record launches over the last few weeks....

The amazing Bo Ningen topped the bill for the release of their latest single Henkan/ Jinsei Ichidokiri on Stolen Recordings at Camp basement on the 26th of October. Flinging their long locks with compulsive flair Bo Ningen create a psychedelic trauma with their experimental and artistic sound.
(Supporting them Blood Music, watch out for more on them - currently recording with Tim Burgess.)






Blue On Blue gave it up at an instore launch at Rough Trade off Brick Lane this week. Dee Sada and Billy Trivial create an atmospheric ambience of electronica and guitar. Smoothly wafting into ethereal vocal lines they are releasing a self titled EP on Tip Top Recordings.







On the new band front Blue On Blue stand out as a force gently easing their way into a music neiché of their own, for the past year and a half they've been striking a chord with a devoted bunch of followers...  Core members Dee Sada, Billy Trivial have set up a calming dimension of music making that is as apt for both introspective moments as it is for a soundtrack to reflect on wilder times. Dee Sada says, 'From a writing perspective it's pretty self-focused and I only write about what I think will help ease issues on my mind or help me come to terms with things. So I have a personal audience of one.'  
They talk about and have a concienous streak to the way they relate to the intrcocies of life's up and downs, Billy's approach also takes on a personal slant, 'There's a quote in Slapstick by Kurt Vonnegut about how every successful artist creates with an audience of one in mind, and I think he's absolutely right in saying that. For me, it's one or two very close friends who's opinion and integrity I fully respect. I've never thought of an audience beyond that and I don't think it's healthy to.' 
Dee started out initially in Experiment On A Bird In An Air Pump, the overlap came in August 09, when she considered forming Blue On Blue as a side project, she explains, 'I was sick as a dog for 6 weeks and wanted to document what I believed to be the last songs I would ever write as I thought I wouldn't live to see the end of the illness. Most of these songs were bedroom demos from my death-bed.' Meanwhile Billy had been experimenting with his own solo endevours both bumping into each other on the London circuit. Dee continues, 'Billy came to the fold in January 2010 and then we became a live band, at the time we had drummers (Mark Abbot and when he left, Samir Eskanda from Flats). Billy and I really wanted to delve into a true musical journey so we decided to continue as a duo and mix in layers of sounds both natural and electronic.' 
The thoughtful conviction Dee and Billy have to Blue On Blue is apparent, when you see them play live they're not in your face, they seep into your subconcouness in very subtle style creating moods without being stropy. Dee says, 'I bring the bleakness and Billy brings the hope to our music. So we are somewhere in between heaven and hell; a constant state of purgatory.' It's a good balance, honest and reflective, infact true to life, Billy goes on to add, 'So many bands get stuck in having what they think is a 'mood' - and then end up churning out the same shit album after album. What's the point in saying 'we're a happy sunshine pop band' or something like that - when you end up excluding 95% of human emotion from your work. Its a creative constriction of the worst kind. No person is always sad, or angry, or ecstatic - and neither should any honest band.' They write from the heart, lyrically Dee takes a personal stance spilling her heart out, 'From a songwriting perspective, it's usually about myself and my life experiences. Unfortunately human nature tends to focus on the unforgivable so I tend to write about people that have been in my life and the madness and sadness that continues to haunt me. It's meant to be a therapeutic process but lately I've realised that each time I perform these songs, it takes me right back to the emotional place when I wrote them; the place I am so desperate to forget and run away from. So in fact, these songs are more like constant thorns in my side that are screaming to get out.' Billy backs up Dee's thoughts, his musicality compliments the set up, 'When it comes to writing for me, the most powerful songs come out of intensely personal experiences. I tend to be able to hold simultaneous conflicting viewpoints, which also comes out in the music.'
More recently they've supported The Charlatans which to all intents and purposes seems to have given Blue On Blue the impetous to become even more prolific, 'That was probably the most diverse crowd we've ever played to. It was a challenge as their fans all thought we were 'scary' and 'depressing' but we really enjoy playing out of our comfort zone. The fact that songs written in your bedroom are now making some kind of impact on people continues to fascinate me.'  In a sense their taking things as they come, there's no strict agenda or expectation, Billy explains, 'Thinking about stuff like that waters down music, and the pure intention of creativity. If we ever thought at any point that we had to have a particular drum sound to be played in clubs, or be compressed to fuck so it sounds good on radio, we'd be doing our work a great disservice.' The dreamlike quality they expel is at once captivating, soundwaves that envelope you, Dee Sada's softly sung vocal style comes from her utter conviction, 'Most of my songs have come out of hazy states of numbness so I think the dreamlike quality is intrinsic to the style of the song rather than just the production.'  I think the sounds we tend to gravitate towards are quite blurry, or smudged. I've always thought of our music as quite painterly in some ways. Having said that, in our most recent stuff there's a lot of precision - completely untreated analogue drum machines. I think Dee's voice is very ethereal as well, so maybe that has a lot to do with it.'
Blue On Blue are releasing an EP on Tip Top records and Tim Burgess from The Charlatans having produced some of their tracks which will be released on his Oh Genesis label.

Princess Julia

Article 22

MOLLY PARKIN Style Icon Hits 80

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This February the notorious Molly Parkin celebrates her 80th birthday. Her early life has been well documented, born in Wales, two marriages, two children, heaps of lovers and a career that has seen her explore life as an artist, a writer, editor and style icon.

Young Molly aged 29

Moving to London during the 2nd World War with her family as a child aged 7 she suffered both violent and sexual abuse from her fascist father recently documented in her latest book 'Welcome To Mollywood'. She then went on to gain a scholarship at Goldsmiths art college  at 17 and began her life as a painter.

She found herself a young woman of 22 and still a virgin, the damaged Molly married in 1957 but not before a stolen kiss with Louis Armstrong and her first love affair. By the 60's she divorced, gave up painting and became a fully fledged member of London Society of the time whilst painting and bringing up her family. Hanging out down the Colony Rooms with other artists and writers, developing a style that became her signature look and fast becoming a somewhat of a celebrity she lived life on the fast lane cramming in a myriad of  challenging creative outlets. Working with Barbara Halanicki creating hats for Biba, running her own shop and entertaining at dinner parties.


It seems Molly Parkin was a bit of a pioneer with her endevors, penning ten novels, poetry books, the fashion editor of Harpers & Queen, writing for Nova magazine and The Sunday Times, bringing up her two daughters - Sarah and Sophie and cavorting around town with her numerous lovers, Molly really is somewhat of a force.
Working as an editor in the 60's (right)

I first saw Molly in the late 70's as part of London's creative set, she was working her turban based creations and was swathed in luxuriant cloaks of swirling pattern and design. Her presence was larger than life,  she turned up at drinking dens and social events mostly sloshed (I would imagine) her penchant for a tipple was well known. Nowadays she has given up the grog and the cavorting, nonetheless her presence today is just as engaging.


In the 80's she was well established for her saucy and explicit novels and sense of style, she says she's a product of the Welsh valleys she originated from, her grandmother was her role model and alcoholism seems to run in her family. Molly went onto a second marriage in 1968 which ended in 1980. She may have got over the urges of her decadent youth, (she's been sober for 25 years), and worked through her demons but she still finds inspiration in dressing for any occasion.


Her she is in her sheltered accommodation flat in Chelsea dressed up to the nines.

The 90's saw her take up painting once again and in the past decade Molly Parkin has kept busy with her pursuits, involved with various events and of course dressing in her own inimitable style.

                                                            Happy Birthday Molly

ON THE COMEBACK

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Straight into the new year and I've spent my time endevouring to get motivated with a bit of yoga, editing interviews for iD mag, writing about motorbikes for GQ Style, a fantastic interview for  Ponystep with The Gossip and my regular weekly QX mag club column 'Revoltage' which keeps me in the loop of clubland (plus the odd bit of djing).

GARBAGE - NEW ALBUM FOR 2012
On the subject of bands taking a sabbatical it's been my pleasure to catch with latest from Garbage, who have been off the scene since the retrospective album 'Absolute Garbage' in 2007. New album out in March entitled 'Not Your Kind Of People' came my way in the form of an album sampler 'Angelfish', 5 new tracks of classic Garbage. Now then Garbage have got their sound and their sticking to it, hardcore fans won't be disappointed, the gorgeous Shirley Manson holds the fort with an instantly recognizable vocal style. I was always a fan of her style both vocally and visually.

Track list so far...
1. Big Bright World
2. Felt
3. I Hate Love
4. Beloved Freak

MARK STEWART RETURNS - (THE POP GROUP)
Charismatic storm trooper Mark Stewart from The Pop Group returns with an album of collaborations called The Politics Of Envy. Such is the kudos of The Pop Group, who did a one off reformation gig last year at The Garage in Islington after a 30 year break that it seems people are queuing up to be involved. First single 'Autonomia' with Primal Scream, namely Bobby Gillespie in tow is quite a racket and is out February 20th, the album being due for release on Future Noise Music .



GOSSIP
The Gossip have been working on a new album produced by Brian Higgins of Xenomania notoriety. I caught up with them for a hilarious interview for Ponystep mag and got absolutely no information out of them, Beth decided to interview me and we just collapsed in a heap of laughter.  Anyway the said album is due out later this year and the band are very excited about it with a string of gigs planned!



FASHION 2012

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I <3 London Fashion Week, I really do, and this season I'm looking forward to a few fashion treats. Last week I went to be in a film with Charlie Le Mindu of haute coiffure fame by filmaker Zoe Hitchen, due to be shown at the launch of LFW. We've all heard of art and fashion being linked but I think Charlie had a brainwave... musical theatre and fashion. (I'm not joking either).



Sibling knitwear do two presentation's of their ladies range 'Sister' on Saturday morning up at Somerset House.

Jonathan Saunders will be kicking off my Sunday, as you might know I'm a fan of his lady like looks, well classy...

Then there's a show from Louise Gray straight after...



And rounding the afternoon off our lovely Pam Hogg is back in London with her show 'Wildlife'


Pam Hogg S/S11...TO KINGDOM COME! from Pam Hogg Couture on Vimeo.


On Tuesday Meadham kirchoff unveil their latest...


After all that I think I'll be fashioned out till next season...

John Maybury In Conversation

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John Maybury in conversation with ICA Director Gregor Muir recently revealed his ongoing fascination with with his own creative energies and those around him. A life full of enquiry John was brought up in North London where upon leaving home he quickly became part of the emerging scene of the mid 70's, a small Punk collective of artists, musicians, designers and activists who pursued a DIY ethos. Inspiring for a young boy fresh out of the drudgery of his Enfield school St Ignatious, John was very much a core member. I met John officially in 1977 having seen him around and about, we've remained firm friends through 4 decades. Even then his proactive and outspoken sensibilities gave him an aura that drew attention to his pursuits. Meeting Derek Jarman proved pivotal to the young Maybury who was then thought he set on a career path as a painter. Asked by Jarman to assist with his film Jubilee who wanted a real punk involved, John became intrigued with the possibility of film.



Throughout this talk John engaged us with a series of film extracts, his own and work that has inspired him over the years. Both Jarman and Kenneth Anger played a part in the technique John developed in his own 'art house' shorts. Working on super 8, (readily available and cheap), one of John's first exhibitions was indeed at the ICA of 1982 under the moniker 'The New Romantics', a collective show of young artists on the scene, (John's preferred the title 'Neuro Mantics' which he later put to use). It is with a quizzical eyebrow that John discusses his fascination with fame and the sense of 'underground' creative culture of the time. And indeed it was a thing we all realized, the fame game was easily obtainable and many of our mutual friends were becoming successful in their chosen fields, Andy Warhol's prediction of 'Everyone will be famous 15 minutes' ironically has become true.



John talks about the social consciousness of the 80's, the AID's epidemic and casualties of drug abuse that took many of our friends. A fact that has led him to retrieve archive film in order to remember and pay homage to some of the people that have played a great part in John's life.



Enquiring and pondering over technology both then and now, he adapted chroma key and worked with  every scrap of creative media available to him. Cashing in on the pop video explosion of the 80's with videos for Neneh Cherry, Sinead O'Connor, Marc Almond and Boy George he recycled sets from his commercial work for his personal work. With his usual enthusiasm today he extols on the virtues of the world of apps, reediting film on his i-phone.



By the end of the 90's John first full length film 'Love Is The Devil' was released. Roping in friends, namely the Young British Artist's of the day, he got them to re-enact various scenes. Initially he cast Malcolm McDowell as Francis Bacon, it all fell through and the part went to Derek Jacobi, John tells how the scene where George Dyer (played by Daniel Craig) falls through the ceiling upon first meeting Francis Bacon is infact completely fictional but has been cited as fact by leading art historians. For your information they apparently met in a pub.
Realizing an ambition to explore further the medium of the feature film he went on to create The Jacket and most recently The Edge Of Love. Further to which he tells us about an Italian TV series 'Rome', where as a director he is enjoying the seemingly limitless budgets.
Summing up a creative life in the space of 40 minutes is really not long enough and John's engaging repartee throws up some amusing situations that are both insightful and refreshingly honest.




'He Gave Me Blue Roses...

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Life! (Vicariously)', Meadham Kirchhoff presented their 2012 Fall show the other afternoon and what a moment of exhilaration it was. Self confessed fans of the 80's their 'take' took nods towards clubland legends of yore, Leigh Bowery, Rachel Auburn, Trojan and Michael Clark. Music supplied by Taboo DJ Jeffrey Hinton (Roxy and Abba), attitude from dancer and choreographer Les Child, (strident glitter). The mood was UP for this one and everyone walked out with a smile on their face. 
The collection itself was a combustion of colour, fabric and shape.  Piled on to the hilt, yards of swathes and drapes, pattern clashes, faux fur topped off with wigage and painted faces. 


Film of the Meadham Kirchhoff moment.

Attention to detail is what Meadham Kirchoff are know for, the moment I received the invite I knew I was in for something a bit different. In the goodie bag a thankyou note, nail covers, chocolate designed by themselves plus a bottle of perfume.

The invite.

An optimistic collection 'Integral force to the whole gorge'. (Les Child)

Absolutely Loved James Long A/W 2012

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Inspired by Amanda Lear, a little bit of Nico and a touch of Russian Rooftops, what a fabulously swishy collection Mr James Long turned out as part of Fashion East's platform for designers. Loved the hair as well - big flossed up mounds of bouffant. Sitting inbetween Julie Verhoeven and Hamish Bowles who took notes in the form of sketches Long's combination of fancy knits, gilt fringing and glitzy silhouettes was a hit.



Good News Disco Lovers

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Hot off the press the latest from Disco Discharge, four brand new compilations 'Disco Exotica', 'Midnight Shift, 'American Hot' and 'Europa' lovingly researched by one Brighton based Mr. Pinks aka Dave Ackerman. These compilations are a true labor of love... Looking down the set list there's a good few time honored classics, 'Dirty Talk' by Klein & MBO, haven't heard that for a while and here we have the full 8 minutes version. Bette Midler 'Hurricane', Flirtations 'Earthquake', Lipstique 'At The Discotheque' - it goes on and on... Lime is on there with 'Wake Dream', Boys Town Gang 'Dance Trance' 14.24 sublime minutes, Fancy 'Slice Me Nice', Taco 'Puttin' On The Ritz. Alright I'm not going to name all of them but if you're like me you need this latest set. 
                                                        



Out on Harmless Records via Demon Music.... the same as for this 'must have' disco lovers compilation out in April, PHILADELPHIA INTERNATIONAL CLASSICS: THE TOM MOULTON REMIXES... Four cd set with classy remixes from legend Tom Moulton one of the originators of the disco round extended remix. Including 7 'lost' tracks, you know the hard to find kind type plus The Jones Girls 'Nights Over Egypt', The Three Degrees 'Year Of Decision' and 'Dirty Ol Man', 'Back Stabbers' by The O'Jays to name but a few. 

The man himself Tom Moulton in his prime.
And the cover...


Lucas Nascimento - Rising Star Of Knitwear

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This week I got to spend some time with a certain Lucas Nascimento. Since meeting him in the mid 2000's at the very start of his knitwear career Brazilian born Lucas had his dreams set on creative ideas. With his signature tresses of bountiful hair and a personal style that cut a dash on the burgeoning East London scene he was often photographed being somewhat of a style icon himself. Originally inspired by his mother who taught him the basics of knitting with needles he enrolled at LCF and from then on devoted his time to exploring the many variants of yarn, shape and construction.

Lucas Nascimento

Personally I'm fascinated by knitwear being taught by my own grandmother so our friendship often included discussion on various stitches and construct. Lucas has rather wonderfully taken things further with contemporary methods, building pieces with an eye that takes inspiration from many sources. His pieces are luxuriant, flattering and artful. The resulting effect of of subtle pattern and texture often exudes a 3D effect created using yarn in dynamic ways.



With no particular muse in mind Nascimento's women are those who have a strong personal style, an eye for finish with something a bit extra thrown into the equation. After cutting his teeth in Brazils fashion week for 3 seasons Nascimento decided to take the plunge here in London and applied to the British Fashion Councils NEWGEN sponsored by Top Shop. This season saw Lucas present his first LFW collection.  


So much has been going on for Lucas this season, taking his collection to the BFC Paris showroom and next week New York, with reviews in Dazed Digital and Vogue Daily plus numerous influential fashion bloggers excited about his debut. Lucas Nascimento is a name to remember, personally I'm so proud to be his friend and and watch him create and develop such fantastic pieces.






 A few of the latest looks go to www.lucasnascimento.com  for the full collection.

'IN THE NAME OF REINVENTION'

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So you've got the band, settled on a name, rehearsed a 'tight' set, now for the gigs...  the rock 'n' roll dream is hard work when you're starting out but the truth is there's a sense of excitement and optimism, the feeling this really could be it! Doubling up as roadies, dragging equipment across town and then performing, trying to get a free drink out of the promoter, wondering where all your fans are and getting paid tuppence on a school night in any small venue anywhere in the world seems like a thankless task when you're bottom of the bill and you may have travelled miles in the pouring rain to get there. Gigging is one way of building up a fan base and gaining some attention from the countless reviewers and blogs out there, but then there's also the route of the studio band. This still involves forming bonds with fellow band mates and learning to get along. Not wishing to put a dampner on things but the enevitable fall out sometimes seems part and parcel of the deal, getting over artistic differences and the disastrous girlfriend/boyfriend swapping mix ups, this is traditionaly where things can mess up, keeping a band ticking over seems to a breeding ground for all sorts of conflict and misunderstanding's. (Count these moments as research and possible material for future songs.) And actually that's part of the adventure in a sense. As with any artistic medium of self expression elements of life's little drama's are unavoidable and infact necessary if you want to develop anything of substance.

The writing is on the wall, or rather it's in a song, a recorded moment, the moment you've been waiting for, planning for, putting all your energy into. You may have been practising guitar since you were two years old, singing, writing and performing since you were five but that doesn't necessarily guarantee fame and fortune will come knocking at your door. Being in a band is no easy thing, firstly you've got to find the right line-up. This can take years, perhaps you all met at school so you're learning as you go along. Once you've found some er, reasonably reliable members and got the sound you want the key point in the situation is that people really, really like you, relate and buy your stuff. After the initial splash, things die down, being flavor of the month can be more of a hinderance in the long term, we're all grabbing on to the next big thing happy in the knowledge our little discoveries are getting the recognition they deserve. But after all the hoo ha has died down if you've hit the right spot at the right time you'll be moving onto the next level, a single, an album and a support slot with your fave heroes on a grand tour. Generally if you find yourself on an eternal pub/club circuit above and beyond 2 years it's presumed you've missed the windows of golden opportunity, the A & R's aren't biting, the labels aren't signing and the press have lost interest, but on the plus side you've gained cult status with loyal followers and actually have got time to really hone your sound, image and continue exploring your music whether you evolve into a new set up or continue under your initial moniker. 

It's at this stage you may be well thinking of a reinvention, a name change and a new line up. Bowie did it in the late 60's and reinvented himself from hippie David Jones and became glamster Ziggy Stardust. Infact, now I'm thinking of it Rod the mod Stewart of The Small Faces became an instant mainstream star when he went solo. Even if you don't change your name there's no reason to move into different styles of music when planning your next album. Ballads, who said ballads? Bryan Ferry has,  Bjork, Debbie Harry and Iggy Pop all have dabbled in an eclectic mix of genré bending. 

In the last few years we've seen a great shift of young bands evolve into fully fledged bona fide stars, they've come from a so called underground scene that grew across the UK.  The Horrors, a huge success story are into third album, whilst O Children, S.C.U.M., Factory Floor, Bo Ningen are either debuting albums or preparing for various tours and festivals over the coming Summer season and beyond. So what about the ones disbanded. Experiment On A Bird In The Air Pump suddenly decided to call it quits when it seemed they were tipped for the top, they cited various reasons for the split saying, 'Knowing who your friends are definitely keeps your bullshit detectors working. It's also really important not to take yourself too seriously 100 % of the time. Once you stop enjoying making music with your band mates, its game over. Be honest with yourself and just have the time of your life!'. Neils Children became quite cultish, but decided enough was enough, Drop Five is the next phase in lead singer John Lingers vision, he reveals,  'I feel that the reasons for forming a band are different with each one, but I'd like to assume that a common reason is for the love of music. When we started Neils Children in 1999 we were 3 young kids from the suburbs who were removed enough from the London band scene (such as it was at the time) to create a unique sound of our own. The fomative stages of the band band weren't difficult; we were so passionate about what we did that we felt we had a right to be playing what we did.' He goes on to add, 'Eventually, last year to be excact, Brandon [Jacobs] and myself decided to call the end to Neils Children mainly due to the fact that we felt we had done all we had to offer, and secondly because we felt it constrictive to the vision we wanted to pursue.' He further explains the ethos and passion for music making, 'We formed our new group, The Drop Five, with long term friends/relations Bonnie and Paul from Electricity In Our Homes and my DJ pal Eli. We want to put some passion and soul back into British pop music, and for those questioning the progression please understand that, like anything, people need to move forward and it is the drive for progression that moves people through life.'

'There were only four months between the last Black Wire show and Lord Auch's debut. Having kept Danny from Black Wire on drums and only adding Liam Wade on guitar it was easy to get things moving fast. Such was the turn-over of bands during Black Wire's 5 years, it really felt like this needed to be the case. The race to release more material before you are deleted from musical history. Fortunately we we did a deal with Young and Lost club immediately after our debut show and my paranoia could take a breather. The 'ex-Black Wire' leg-up helped fight our corner enormously during the release of our first single. in the press, on the radio and even helped bend the ears of a few promoters; although the low fee's took a while to re-adjust to! Throughout the release of our second single the association started to annoy a little and when we released our E.P. '...to the Shithouse' (my proudest moment!) became quite depressing. Our Debut Album 'Goat Song Rave' came out in 2011, 4 years since Black Wire split up.' 
Out of Black Wire came Lord Auch, Simon MaCabe explains, 'After a period of very little going on, Black Wire were experiencing a second wind when I made my decision to leave. We had a 2nd album written and a European tour with the Klaxons on the cards. We'd also recently moved to London and everything seemed a lot easier. Gig offers were rolling in and the fee's were the best we'd ever had. Personally though I was not so optimistic. When writing a song for Black Wire the focus was on the listener and all my latest demo's were very personal and essentially Iwanted to sing them.' That seemed the turning point...
Spin off projects also abound, what do you do when you're not touring or recording. Farris from The Horrors has come up with Cats Eyes, his band mates Rhys Webb and Thom Furse created analogue synth project Spider And The Flies.  Brandon Jacobs from Drop Five continues his endevours with Good Night And I Wish, a personal project he embraced whilst being in Neils Children. Others go on the experimental remix route... tackling and exploring others peoples music with a blue print of their own.

It must seem disheartening when things don't quite go according to plan or when you you see your mates bands suddenly taking off. But it really doesn't matter if things don't happen quite as rapidly a you first imagined, infact allowing things to take their course and develop is also a bonus, personally I really do believe if you want something enough it will happen. 

Words Princess Julia


Life With My Mistress

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A little story as told through my cat... Alan

"Oh, you know what it's like, I'm feeling a bit housebound today, had a bit of a night on the town last night... thought I'd go out for a bit and ended up looking for worms with this local wolf cub I know. 'She' let me in at 5 in the morning but not after I had a yowling fit for half an hour. I'm a bit of loner really, quite happy with my own company, swiping at other cats on the block, staring out the window or having a lounge at the bottom of that Princess Julia's bed. I'm about 5 years old, in my prime so to speak, a pretty boy even if I do say so myself. I like things done my way, I like routine, a bit of a stretch and a sneaky claw on 'her' handbag. There's nothing I like more than a staring match with 'her', I always win, ha! 'That'll teach you', I think looking away pretending to look bored.  I'm quite a fussy eater and a big fan of gloopy food. 


I get up when 'she' gets up and make 'her' run down the stairs to feed me, with my bottom in the air and my extra long tail wagging furiously I give 'her' a look of hungry distain. Oh no, Why oh why is 'she' trying to pick me up, 'she' knows I hate it and I'm not very partial to a lap either, 'she knows that too. I prefer to sit by her side and every now and again put a paw up to get attention. That's me all over, I like a bit of a chin tickle and head pamper, that really brings the purring on and I feel all loved up. Talking about love, there's a favourite fake fur coat of 'hers' I absolutely adore, 'she' calls it Beryl, who ever heard of someone naming a coat! But when I see Beryl I come over all passionate and I have to start padding it. Oh no, 'she's' coming in for a cat kiss, she better not try and get that lippy on my pristine coat, I've just had a clean and I really don't appreciate all my cleaning activities going to waste. 
What the hell is 'she' doing now? 'God all those fumes', spraying her hair with that stuff can't be healthy, 'Pah! I'm going to have to leave the room now... Is it dinner time again? Must be, I'm ravenous!"

Printed in iD mag this month




BEING MISS CHRISTIE

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Watch actress Gwendoline Christie walk into any room and all heads turn, a much loved figure on London's social scene she's landed herself a plum role, the statuesque one is currently starring in HBO cult series Game Of Thrones as warrior Brienne of Tarth which she describes as being perfect for her. 'The reason I wanted to do it', she says was because, 'It was a massive transformation outside any part I've ever played before. In the past few years she's been cast in the stage production of Breakfast At Tiffany's as outlandish party lover Mag Wildblood, the Queen in Shakespear's Cymbeline and in artist Nathaniel Mellors 'absurdist' film drama Ourhouse as Baby. Christie describes her face as being 'nebulous' once stripped of make up, the role is that of a female androgynous warrior, on explaining the part Christie says, 'She's as good as any of her male rivals and because of her height and size and the fact she's not attractive she manages to push through'. Gwendoline expands on the subject,  'Reading the books I felt it was a part I could completely relate to, there are scenes where's she's completely humiliated. It's a dream role', she reflects, 'To be able to tackle prejudice from such a personal perspective'.

Gwendoline in Love Magazine

At 4 years of age she studied ballet going on to become a professional gymnast, 'I was obsessed by it', by the age of 11 she suffered an injury due to being over coached and spent a year recovering. 'They strained all the muscles in my spine, I was told I had to stop or I wouldn't be able to carry a child, I thought, 'Well I'll have to become an actress... I'll do that instead'. 
'Growing up in a small Sussex village, being tall and looking weird', with two half brothers one of which, Hugh, showed the good taste to educate the young Gwendoline in a subversive film selection such as Erasure Head and Pink Flamingos, Hugh certainly set the tone for her enquiring young mind. 'When he left me a huge wardrobe of books they contributed to my being weird, I was quite a dowdy thing with long hair to my hips'.  Bullied for being so tall she read avidly, 'because', she says, 'I felt so completely and utterly isolated'.

By the age of 16 she had gravitated towards the Brighton scene, 'Those were my salad days.'  After a strict upbringing she joined the youth theatre there and made new friends. It's here that Gwendoline developed a taste for working a look. She remembers a 'kinder whore outfit' with much amusement, and our Gwendoline is all for experimenting with her own personal style it has to be said. It was while modeling for the designer Sally Turner that fate took another turn, spotted by Julian MacDonald who was then working for Channel, 'He introduced me to Isabella Blow, I was just 18, I was still quite shy, it was when she was working for Sunday Times Style'. Blow had just launched Sophie Dahl and was keen to launch Gwendoline but needed a break. Gwendoline 'buggered about in Brighton' and finally ready to 'taste life' made it to London. Headed towards the Drama Center, Gwendoline cut her teeth on some serious study for 3 years, they told her she was too old (although she was only a year or two older than her fellow students) and too tall but nothing deterred her, and to her great joy on leaving she landed a part with director and writer Declan Donnellan at the RSC, 'That was a real dream... spectacular,' she says, playing classical roles was Christie's intention, she was fast becoming a fully fledged thespian. 

Part of early London life included a coterie of like minded friends with experimental endeavors, Sybil Rouge, Lyall Hakaria, and Link Leisure... 'Matthew Glamore got hold of me, he tried to get me to shave my head. I was very embryonic until I met Sybil Rouge. She really gave me the best big sister that I had never properly had, she always made sure I was looked after.' I remember seeing Gwendoline with Sybil at Richard Mortimers at Boombox and thinking what a vision, I had in fact met her at Philip Normals degree show when we modeled for him.

There's an innocence to the way Gwendoline throws her self into situations, but she's mistress of herself, captivating and emcapassing... the serious side to the incredibly focused and diciplined Gwendoline Christie comes as no surprise, 'The work is what I've always wanted, there's not that many parts for big, funny, camp, glamourous girls'. Talking about her role in Game Of Thrones, 'It was something I could do as an actor, taking a step outside my own existence.' There's a 70ft high poster of Christie on the LA freeway, she's trying not to get too excited about it but the truth is we're all getting excited for her. Learning to sword fight, horse riding, she did all her own stunts, 'I learnt to canoe, one on one combat, I had to kill quite a  lot of men', she tells me expressing the energy she puts into her work. 'I am a person and this is where I am today, a new phase, a balance and equilibrium, it certainly feels that way,' she ponders and adds, 'A balance of things that make my work so incredible, I want to devote myself to it entirely, that doesn't mean I'm not going to get razzy every now and again!' She laughs uproariously with a naughty twinkle in her eyes. 'I love doing film work, there's a real specificality to the intenstion, I like making it real and that's something that takes a life time to achieve...'

Words - Princess Julia (ID Mag 2012)

London Fashion Week SS2013

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London Fashion Week was outstanding this season I must say... here's my hit list.

Meadham Kirchhoff
Blanche Dubois meets me in a by gone era, I want everything and I'm going to beg them for some samples..
Meadham Kirchhoff

Louise Gray
Love the Louise Gray and her vision for this time next year has stepped up to the mark, with her super GORGE pattern - tastic designs she added hats from our Mr Stephen Jones and jewelry from Tatty Divine.


Sibling
'Sister' by Sibling knitwear trio Sid, Joe and Cozette once again came up trumps with a beautiful collection. My choice the green two piece please...
Sister by Sibling
James Long
Very excited about this one as they did a print from one of my watercolors this season. James did an installation of a monochrome collection featuring embroidery, layered prints and knits.
James Long

Fashion East
Fashion East gave us catwalk from Maarten Van Der Horst, installation fashion from Claire Barrow and Ryan Lo. Loved them all for entirely different reasons. Want Want Want... 

Maarten Van Der Horst

Ryan Lo

Claire Barrow



Craig Lawrence
I slipped into Somerset House's Portico Rooms to witness the intricate froth of Craig's sublime knits...

Craig Lawrence

Jonathan Saunders
It's all about the two piece for me and Jonathan Saunders came up with this lovely red sequin number. Show was at the Tate Modern 'Tanks'.
Jonathan Saunders

Philip Treacy
Show at the Halls Of Justice and what a show dears! Very taken with the fact the models wore Michael Jackson's costumes and they weren't altered in any way. Hat's beyond beyond...
Philip Treacy

Pam Hogg
Pam's shows are always quite an occasion, this season Pam ventured forth with some new additions, zipped boiler suits and sexy sequin body con.
Pam Hogg





iD THINK PIECE 'WISDOM' ISSUE

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For me the initial attraction to a life in clubs entailed a sense of escapism, a sense of belonging to a scene where everybody felt like an outsider, a freak or just part of the great misunderstood.  Clubs are places where you can dress, say and be who you like, express and create an alter ego of sorts and get lost in the music. Walls pounding with musical vibration, the clatter of people clinking glasses. The whoop and promise of a high old time, people gathering together to what was once considered a decadent lifestyle but today it seems is part and parcel of a perhaps misspent youth, a right of passage before 'settling down'. 

I became a bonafidé dj after experimenting with a series of projects in the 80's in which I was connected to art, fashion and music. Initially, I felt drawn to a secret society, a mysterious world where anything could happen, where you might meet the most unusual people, the famous, the love of your life or even a one night stand. An adventure and a tale to be told the next day while nursing a hangover and getting ready for the next episode into the night. 

In the days before dj's became so called 'rock stars' the dj was expected to do a multitude of jobs, the lighting, the smoke machine and sometimes even become the coat check. Legendary Dj, Tallulah, who started djing in the early 70's up until he died in 2008 remembers his early days, *'In the booth, there was a light switch that you could hit and the lighting engineer would get a flashing light on a phone so you could talk to him.' His recollections of an underground lifestyle paint a vivid evolution of club life, from pre-disco in the 60's to the explosion of 'super clubs' in the late 80's and onwards. I love hearing the escapades of friends and some of these stories have gone down in club history. The time dj Jeffrey Hinton decided to 'play' the slipmat at Taboo, he was tripping and imagined he was at home, everyone still danced though.  

In the dj booth you are strangely detached, set apart from the dance floor standing behind a booth, busy lining up music, co-ordinating and watching for a reaction, the conversation is a subliminal one, the aural energy of sound inducing an effect on dancers as the recognition of a track becomes realized, the excitement of the dance floor moving on the effect of the music, the music that you as the dj has selected. Mark Moore dj, music producer and frontman of seminal band S-Express began his career as a dj and continues to involve himself in the spirit of it, 'My experience of djing is similar to when friends come round your house and you play music to them. Every record that brings joy to them and blows their mind also brings joy to you so it's really a way of bonding and sharing - communion! The DJ experience is just a bigger version of this with more people and more energy. I imagine it's the same feeling religious types get when sharing the word of God only you're doing it with music. If you're religious or spiritual then music is considered to be the voice of God so perhaps DJs are all messengers of God anyway!' He adds, 'I was and still am obsessed with music. It wasn't enough to just enjoy it by myself. I always felt the need to share it with other people. This could be seen as a form of ego, wanting other people to know what great taste you think you have but I think for many DJs it's (hopefully) more altruistic.'

I came to djing by being a clubber first, on the other side of the decks, on the dance floor, the sound engulfing me, actions, words... and the dance. And this is part of the clubbing experience, a series of interactions on a number of levels, getting ready, getting in, meeting friends, making new ones and seemingly escaping the mundane struggle of real life. Working in clubs can take the edge off the mystery of clubbing and being a dj is a strangely obtuse world where as part of a team you create a mood and a series of moments, an atmosphere where permission is granted to behave in extremes perhaps not acceptable in the cold light of day. There is an element of decadence attached to the disco round, drugs and alcohol have always been part of it and are indeed enhancers to the elements of escapism. Maintaining that lifestyle however is another side to the story. Finding a balance in order to maintain a productive lifestyle can be a predicament. Nature has it's own way of making you pay for a hedonistic night out as we all know, que the hangovers, the come downs and the memories of casualties along the way. 

Now I'm all for the 'deepness of being shallow' in it's place, with a big dose of irony thrown into the equation I hasten to add. If you're in a club it's loud and noisy, you might have had one too many and you're whipped up into the frenzy of it all. A lot can be said for meeting people in these situations though, most of my life long friends have come from chance meetings and so I encourage a life in clubs, get out there and experience it for yourself, see it as a form of research if you will. Perhaps it's not for you but you'll never know until you go there. My theories revolve around first hand experience and living each day as if it were your last.    

Club life is a great leveler, Wayne Shires who has been running clubs and parties since the 80's and is the inspiration behind London's East Bloc says, 'You can be unemployed, a student, work 9 to 5 or a be major celebrity and be in the same room enjoying the same music at the same time'. When I was growing up the 'famous' seemed a world away from my existence, club life changed all that. At once I was mixing with people I'd only ever read about and in fact the new people I did meet became stars of club land themselves. You always knew you were in the place to be if you saw certain people in the house and quite by accident I seem to have become one myself... Which just goes to show if you hang around long enough somethings bound to happen! 

Throughout 90's the humble dj became the object of much attention, no party was complete without a star billing. Equally your host for the night received just as much importance, clubs as they do to this day buzzed with the idea of the celebrity host. They were talked about and voiced their opinions in all areas of life from TV to art, music to fashion and have became stars in their own right. Clubs became a brand, expertly packaged to attract bigger and bigger crowds while the smaller clubs kept to the ideals of an exclusive secret society. 

And what about the music? What makes a dance floor smash hit? Is there a formula to it? As a dj you really get a feel for what makes people move, by the end of the 80's the remix became all important and the dj friendly remix meant a parallel career for most dj's. Dj's could command extraordinary fees for this task and pop producers soon cottoned onto this. From the days of disco and HiNRG dance, pioneers Georgio Moroder and Patrick Cowley amongst others dropped lengthy remixes especially designed for the dance floor, through to the 'rave' scene where bedroom producers pieced together seamless beats. Pop acts with a dance sensibility picked up on this as the dance revolution exploded... Firm pop favorites crossed onto the dance floor. Steve Anderson who produces and arranges music for a myriad of popstars but is mainly known for his work with Kylie Minouge shines some light on the subject, 'Its all about dynamic. Most clubs will have a pounding 4/4 kick drum prominent throughout the night - people love it as it gives them a heartbeat but also love it when it gets taken away. The drops and builds enable the euphoria when the kick comes back in and that's essentially dance music and has been for a long time now. This can be done intelligently and brilliantly or cheaply and tackily both of which achieve the same result and often the same amount of success but the former are likely to stand the test of time better.' While disco stars crossed over into the mainstream, pop and dance have become intrinsically linked by the remix. Todays 'pop' is yesterdays dance music... producer dj's rising from the club scene nowadays produce hits for out and out pop stars, and producers from the 'pop' scene keep a vigilant eye on what's going on in the clubs and bars of the world. Steve Anderson explains the balance perfectly... 'Ultimately people want to feel good and having that 'hands in the air' moment is just as important now as it was in the 90s - a moment of pure abandonment where the outside world ceases to exist and its just about joy and euphoria - that's what great dance music can do.'

On a personal level, living in a twilight world and working within a global clubbing community has given me an overview of immense value, when I walk out the door I leave any personal troubles behind, in a way the concept of clubbing is a form of therapy, although you might need some other form of therapy when you feel your clubbing days are over! I believe in the words of the songs I've grown up with and danced to, disco classics such as  Sylvester 'You Make Me Feel (Mighty Real)'. Music from Kraftwerk who really set a precedent for what experimental dance could be.  90's classics from the 'house' scene and then dance of the 00's which took elements of previous decades and created something beyond... each song evokes a memory of a place and time as we arrive in the present where although definitions are blurred the music is the thing that carries us through and brings us together with an air of acknowledgement.  

The characters and friends I have made in clubs, we all share a sense of community linked by music and a need to express a life of extremes involving art, style and personal expression or endevour.

Words princess Julia



fredbutlerstyle: Wednesday 2nd January 2013: 2012 Review = Princess...

Screw Your Courage to the Sticking Place - Gallery Show at Simon Oldfield

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This month sees a new exploration for me, the task of co-curating a gallery show at Simon Oldfield now situated at 6 Carlos Place, Mayfair. I've had a continuing love affair with art over the years, in fact I often wish I had the funds to buy more art for my own personal collection, those that know me know I have amassed a small treasure trove. For this show entitled Screw Your Courage to the Sticking Place I've endeavored to include a few artists who are perhaps not known so well for their art work outside of the fashion world and a few newer artists who are busy establishing themselves on the art scene. Working with Simon Oldfield, the show itself consists of two solo shows from Simon Foxall and Matthew La Croix. For the group show the cast list goes as follows Bruce Ingram,Matthew Stone, David Holah, Paul Kindersley, Judy Blame, Simon Foxall and film maker Angel Rose.

Judy Blame 


Angel Rose - still from film 'Ritual 1' SS edit

Simon Foxall

David Holah

Just a few examples of art work...
simonoldfield.com for more info.

'Bowie Nights at Billy's Club, London 1978' Nicola Tyson at Sadie Coles HQ

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Artist Nicola Tyson (known for her figurative paintings) unearthed her snappy snaps and low and behold a slice of social history has emerged. 'Bowie Nights at Billy's Club, London 1978' is the title of the exhibition at Sadie Coles HQ gallery on until the 25th February, 2013. I was mesmerized when Nicola first showed me these previously unseen moments she recorded whilst studying at college of a night we all looked forward to going to. These spontaneous and shadowy images look like they might have happened yesterday and strangely enough in my mind it felt like yesterday when I first saw them the truth be known.

Marilyn, me and Boy George 1978

This was the year after the 'punk' scene dissipated and the beginnings of what became the 'new romantic' era emerged. This Bowie night set the cornerstones of the celebrated 'Blitz' night often talked about and referenced. Anyway, go and have a look and be prepared to be amused and fascinated by Nicola Tyson's perfectly formed account.

Jeremy Healy, Andy Polaris, unknown



By 1978 a new scene was needed to fill the 
vacuum left after Punk went mainstream  
and “Bowie Night” was a start. Roxy Music 
and David Bowie had influenced the darkly 
flamboyant aspects of the London punk 
scene, and so in opposition to the dumb 
monochrome cynicism of mainstream Punk, 
each Tuesday anything went at Billy’s, the 
more theatrical the better. 

                                                              Nicola Tyson, 2012.


www.sadiecoles.com

Nicola Tyson 

Juergen Teller on family, personal style and taking pictures...

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Juergen Teller's got a show, as if you didn't know, it's at the ICA in London entitled 'Woo!' until the 17th March. When I got to interview him for GQ Style he revealed a spontaneity that really is a key element in his artistic work and something he carries into his everyday life... 
'I thought I should be a photographic assistant, I came in '86 my english was so poor, the only people who would actually see me were Mark Lebon and Nick Knight, everyone else said fuck off, they were both so sweet and then there was Ray Petri, I did my first Arena shoot '87- '88. I had this really weird hair, bits in a knot and a bit longer and Ray said 'Cut it off'. I was really impressed with these people... with Ray and Mark.  

Smoking Cat (Woo! at ICA)

The pyjama phase... they were from my grandfather, soft comfy. The cap, yes, I went to Romania, I always had it on and then I shaved my head. It was a very exciting time, it was all west London, the east didn't exist, it was super exciting... then I met Judy Blame and then Zoe Bedeaux. My style's all about comfort, it's always about comfort. 

Artist Cerith Wyn Evans (Woo! at ICA)

The shorts came when I did an advertising job with Marc Jacobs and Marc said to me 'Wouldn't it be great to use Charlotte Rampling for Marc Jacobs women's wear?', and I said, 'She's not going to do it.' To swing it I thought maybe if I'm going to be the male she would find it more interesting. When got there I didn't think about the clothes and I'm far too fat, I'm not going to fit anything. There were a pair of silver shorts, so the next day I came getting nervous...  'You look ridiculous what the fuck is this...' she said, 'How do you see this?' I just wanted to kiss her fondle her breasts... She got a cigarillo out and said 'Ok lets start, I'll tell you when to stop', and that's when the shorts started and the book started. I did this book after the ads came out and thought, 'What the fuck do I do with these shorts (shots)?' So for half a year I went to Paris and did half naked shots. That's I made this book and Sadie [Coles] helped me, directors pose... 


Juergen with his and Sadies son Ed

I thought it would be a really nice thing to get married at my mums place in Germany, Sadie's sister was a witness, and Lola said 'Sadie, what are you going to wear?', because she always wears trousers, and she said, 'Good you pointing it out, well, I'm not going to wear a dress', and Lola said 'I'd like you to wear the Arsenal outfit', so I wore the away kit and she [Sadie] wore the home kit, the Arsenal strip...  We went to the register office did a polaroid, had a Japanese meal, and went to play football, that was it.'


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