The pioneer of Czech New Wave cinema Věra Chytilová passed away on Thursday at the age of 85. Most famous for her 1966 film Sedmikrásky (Daisies) where she explored the excessive desire for pleasure in a Soviet Czechoslovakia the film followed two young girls and their anarchic pursuits for fun. The film was banned by the Communist government but still remains one of the most influential pieces of art house cinema. Besides from this authoritarian influence to her working life Chytilová remained powerfully dedicated to her vision regardless of the Soviet Union’s controlled film industry.
Her use of cinematography involved a non linear approach where she didn’t rely heavily on verbal or literary connections but rather created a manipulation of images together to make meanings in her films. This can make a jolted viewing experience but non the less her films are really quite inspiring for these reasons besides from their important historical factors.
You can watch the film below.
Creative Direction – Joseph Delaney
Photography – Daniel Fraser
Styling – Matt King
Makeup – Roseanna Velin
Hair – Jonathan de Francesco
Nails – Jen McColl
Styling Assistance - Christa Livock
Models – Ekaterina @ Models 1 & Nicole G @ TESS
For clothing credits please click on each image.
On the occasion of the 20th anniversary of the Reebok Pump Fury, Boris Bidjan Saberi produced an exclusive design at the behest of the Spanish sneaker store 24Kilates.This limited edition model is part of Saberi’s 11 streetwear range and features his signature graphic black and white pattern. The shoe is produced by Reebok and will be released worldwide on March 15th.Photography by Juan Manuel Sanchez More information about the shoes can be found here
Gengoroh Tagame is the iconic Japanese erotic illustrator who has proactively rejected images of western homoerotic sexuality and connected his illustrations with the aesthetics of the traditional Japanese Shunga. Thought of widely as the Japanese master of gay BDSM manga, Tagame has been creating images of hyper masculine men in sexual situations since the 1980s. The xavierlaboulbenne gallery in Berlin have just opened an exhibition dedicated to the work of Tagame which will be available to visit until the 20th of April.
Regularly exploring themes of BDSM, torture and humiliation between overtly virile men, these illustrations make Tom of Finalnd look almost delicate in comparison. By incorporating notions of the edo period of Shunga where there was little diffraction between how the erotic and fine art were portrayed Tagame creates images which examine the state of mindlessness or enlightening emancipation acquired through heavily painful physical rituals. It has been widely regarded that Tagame’s use of bondage personifies a kind of symbolism of how a restricted society regain feelings of control and power through sexual enjoyment.
You can visit the exhibition from now until the 20th of April and the gallery is open from Wednesday to Sunday’s from 2-6pm.
Tagame will also be at a book signing in London where a date has yet to be confirmed but by joining this Facebook event you will be able to keep unto date with a confirmation.
“Exquisite corpse” or cadavre exquis is a chance-based writing and drawing game, created (or at least coined) by the Surrealists around 1920, in which complete sentences or figures were formed collaboratively from independent words or individually-drawn sections of a body. To play, one person would begin by writing the first word of a sentence or draw the “head” of a figure and then cover it, allowing another person to continue the sentence or figure drawing without seeing the preceding portion. The results are often bizarre, segmented wholes that surprise both through disjointedness and unexpected cohesion. This gallery includes some of the “original” exquisite corpses, created by (different combinations of) André Breton, Man Ray, Yves Tanguy, Joan Miró, Max Morise, and others.
Marina Hoersmander is the Berlin based Franco-Austrian fashion designer known for her hand crafted work with leather. Inspired by prosthetics and the body, Sang Bleu visited her in her studio to find out more about her and her work.
Did you always want to study fashion?
Initially, I studied business in Vienna and London. That was kind of an ultimatum set by my parents. However it was always certain to me that I would eventually end up in fashion. I must say that I already feel that my business degree has helped me a lot. It prepared me to look at fashion from another perspective. I am definitely aware that if I wanted to pursue making art, I needed the financial support. When I finished my business studies I applied to Esmod in Berlin and moved there. I have always thought that I would live in Paris. But after my first collection I realised how many of my friends were based in Berlin. They supported me at every step of my collection, they were hands on from the very beginning. I am not sure if I would have been able to do all of this on my own in another city.
How did your internship at Alexander McQueen come about?
Shortly after I took the internship last summer. I sent an application first and they invited me for an interview. I remember, the interview took place late in the evening, after 10pm. Most of the team was still there, working in the studio. I was thrilled, as they had offered me a place on the spot. I stayed there for three months. I enjoyed working there and it gave me plenty of inspiration for my future collections.
You seem to be very inspired by muscles and orthopaedic belts, where did this
inspiration initially came from?
It actually came up at the McQueen [...]
Though the conversation of the place of print publishing seems to have been ongoing for some time now, it seems clear the indefinite ‘change’ is finally here, a kind of rapture for the media. Print culture finds itself in an almost contradictory state – media has finally and indisputably shifted its primary means of consumption online, now tailored to the endlessly scrolling generation (it occurs to me as I type even Sang Bleu’s main method of communicating is though digital media). Yet the magazine stand has reached saturation and, save a select few titles, seems littered with mediocrity, a constant and reductive cycle of idea and imagery printed in a desperate fight for acknowledgement. It seems fair, then, as the nature of this media is forced to evolve, to question its purpose; if we strip the whole process back, what lies at the core of printing when magazines are no longer media, their purpose no longer a means of communication?
The first in an ongoing series exploring independent publishers in the original sense, the final few occupying the world’s now empty and archaic-seeming photocopy shops, is Kiddiepunk aka the press/label of Paris-based Australian Michael Salerno. Beginning in 2002 Salerno and co self-publish a range of zines, film and music, all centred on a core aesthetic that seems to embody the spirit of what it is to be, as the name suggests, a kid. The label’s latest release is the follow up to 2012’s Teenage Satanists in Oklahoma, a 24-page, A4-sized zine, printed at the local ‘photocopy joint’, whose upcoming issue #2 is previewed with a slideshow-style video of its pages to the sound of Norwegian Black Metal act Burzum, pretty [...]