Photography: Emma Gibney
Styling: Matt King
Creative Direction: Joseph Delaney
Set Design: Christa Livock
Make Up: Michaela Selway
Styling Assistance: Hannah Bent
Models: Josh Rowley and Liuk Bass @ Models 1
Now that the talk of draft season has simmered and the temperature is starting to feel sultry we can finally get down to sorting the Michael Sam’s from the mere men. Its time to suit up your wide receivers and play hard ball.Sang Bleu, sang froid as we may collectively be, are sympathetic to the fact that all professionals in the field may not have the skills to craft one’s own uniform. Not everyone has the savoir-vivre to live up to the legacy of our feared, revered, and respected fetish editrix. Face it, Zuess wanabees, only Betony Vernon has the requisite discipline to keep a one wo/man atelier operational whilst commanding Her orgasmic Olympus. Whether sex athleticism or simple shopping is your sport, career, or legend it may be time for a new warm up… something suitable for surfing an orgasm. Resurrection Vintage has curated a collection of garments for all enthusiastic players and bodycon fanatics. To your excitement this fashion safehouse established in 1996 (with a clientele list including John Galliano, Terry Richardson, and Lady Gaga) will be operating from the switch house as the American sportswear train pulls into consummate trend this summer. Stateside athletic supporters can prepare to sweat it out in the sheets or the streets at their pre game preview. Soon, those with colossal muscle hustle can step into the arena looking as if they’ve no time for games. Whether you are in the mood or market for a Mugler plastic corset, a Wild and Lethal Trash rubber nipple top, a Versace bondage gown, or even a souvenir fan t-shirt (be it Dame Vivienne Westwood’s tits tee or throwbacks from the Spike and Tom of Finland) and you or your shopping slave/s are in New York on Thursday, join Mark Haddawy, Katy Rodriguez, and their illustrious team for an in store sneak peak shopping experience. The aformentioned unmentionables as well as Katy’s own reissue capsule collection [...]
Surrealist artist and Academy Award-winning art director H.R. Giger, known primarily for his work designing the sinister ‘bio-forms’ that inhabited Ridley Scott’s genre-defining Alien series, sadly passed away yesterday. Created as an extension of his work Necronom IV, the conception of the father of gothic sci-fi marked a departure from the Roswell-inspired ‘little green men’ that had previously inhabited the collective imagination, offering up a much more menacing possibility. It is however his depiction of the body that marks the artist as a visionary, warping and subverting the figure and mechanism of the human form.
Below is an extract from a 1995 International Tattoo Art magazine interview with Giger on the occasional of the New Jersey tattoo convention where the artist saw a translation of his biological vision into the formation of tattoos:
In just over a week’s time London’s St Paul’s cathedral will play host to the work of video artist Bill Viola as his latest installation Martyrs is permanently installed, the first time a moving image work has been given a permanent residence in a British Cathedral.
The placement of artwork in the space is by no means a new thing – both Henry Moore’s “Mother and Child” and the installation of James Horrobin’s Churchill Memorial Screen have sat in the space permanently for a number of years alongside a cycle of sporadic temporary installations – it is the nature of the work itself that poses interesting questions about the relationship between art and religion. The focus of his work centres on more abstract metaphysical concerns, the deeper questions surrounding the human condition and the experiences that define it, experiences which his work ignite in the viewer, quoted that “all works of art though visible represent invisible things” and as an extension of this identifies the artist’s purpose as to bring forward those ‘invisible’ phenomena.
In a way this approach to not only the process and presentation of work but his belief if the core purpose of the artist aligns with the most basic components of the religious institution; like Rothko, whose stirring works were concerned entirely with the viewer’s reaction to them, often placing as much importance on their placement and curation as the works themselves, Viola recognises and respects the emotionally provocative and immersive nature of the chapel space. In a way, for the faithless, art could be seen to have taken the place of religion, something by which we attempt to answer questions about our condition and find purpose in it, often content with those questions never being answered.
During the 1960s Veruschka von Lehndorff was considered one of the most startling, exotic and unusual models of her time.
An exhibition named From Vera to Verushka – the unseen photographs of Johnny Moncada at Somerset House in London is showing photographs of her before she writhed around on the floor of Antonioni’s Blow Up! and after she retired from fashion in 1975 where she went on to create the iconically surreal but genius transformation body painting photographs of herself.
Before mutating into all 6ft3 of the Amazonian goddess supermodel which we all know of her, the photographs currently on show at Somerset House in London show her simply as Vera, a young German girl of extortionately effortless style and beauty shot by Johnny Moncada in 1963 and 1964 on the Amalfi Coast. The images project an overwhelmingly cool vision of 1960s Italian glamour and fashion.
After Moncada’s death in 2011, his daughter discovered three thousand of the unpublished photographs in a trunk that had been sealed for over forty years. The images show Vera in both beautifully staged and informal poses, dressed in the best of Italian fashion including Valentino, Irene Galitzine, Sorelle Fontana, Antonelli, Trico, Biki, Forquet, and Lancetti. Never previously exhibited, they capture a moment in fashion history and present a rare glimpse of the soon-to-be legendary model, transforming in front of Moncada’s camera into the icon of Amazonian perfection that we came to know simply as Veruschka.
By 1972 Richard Avedon decided that she was “the most beautiful woman in the world”, during the Sixties and Seventies, she was the highest paid in her profession and appeared on 13 American Vogue covers. But perhaps the most fascinating aspect of Verushka’s career is her transformation photographs where she created herself into her own art, painting her [...]
photographer: Sam Bayliss-Ibram stylist: Jayson Hindley makeup: Lo Moorcroft using MAC hair: Sophie Harris models: Aaron, Edward @ AMCK, Peter and Bunny (street cast) stylist’s assistant: Kacion Mayers layout design: Neal Bipin Desai All clothes Martine Rose except for Bunny’s bikini
The magic of the internet today has blessed us with the discovery of these incredible amateur photographs of the hardcore scene in 1980s New York. This area of punk is perhaps best known as being its most prolific on the West coast of America so its nice to see what was happening on the other side of the country too. However aggressive and raw this scene was in its aesthetics, style and music there is something wonderfully calm and intimate about these photographs. Perhaps that essence is a form of nostalgia that has been translated through these images but nonetheless its lovely to see a more sensitive side to a scene which is all too often labelled off as being stagnantly ruthless.
This is what Sean of Cvlt Nation had to say about the photographs:
Piss-stained streets, CBGB’s matinees, junkies, Reagonomics and no hope were the kind of things that NYC punks had on their plates during the 80′s. I have a different kind of respect for east coast hardcore kids from back then, because we had it good on the west coast. Yeah, we all had parents that did not understand where we were coming from, but many west coast kids had pools in their back yard or you knew someone who did. On the other hand, Lower East Side punks had to deal with a violent urban environment as their back yard. I always felt that the punks on that side had more unity than we did. While we had hardcore gangs that would fight amongst ourselves, L.E.S. heads had to unify because they had cops and street gangs who wanted to bash their heads in for the fun of it! Within all of this madness, some killer [...]