STILL ILL PRESENTS: GAY GOTH SCENE

Fashion, The Unpublished, This Is A Special

Inspired by the Gay Goth Scene video by The Hidden Cameras, the homonymous STILL ILL capsule collection tries a modern take on the original goth look by taking inspiration from horror movies like A Nightmare on Elm Street 2:Freddy’s Revenge and The Lost Boys , Gay Liberation slogans and vintage porn for a tongue in cheek mix of heavy metal lettering, slasher flicks, mesh and vinyl that celebrates teenage hormonal tension and fascination with darkness, with graphics that explore a nostalgic world of sexual awakenings and guilty pleasures, fetish and romance.

Photos & Styling : Riccardo Slavik  @riccardoslavik

Model : Morris Pendlebury at Independent Management   @morrispendlebury

All clothes STILL ILL  @stillilluk except vinyl jeans and fake fur stylist’s own

all accessories stylist’s own

special thanks to Monica Pollara and Blanco Milano

GAY GOTH SCENE MIXTAPE

 

KENZO IN THE STREETS DOSTOEVSKIJ IN THE SHEETS

Fashion, Flamboyant Exclusive

Since joining the house in 2011, Carol Lim and Humberto Leon have brought it back to its original DNA with collections full of bold colors and vivid prints, an eye for sportswear and street style, artist collaborations and creative digital campaigns. Their collaboration with H&M is further proof of the way they push forward the legacy of the house with a knowledge of its history but an eye to the present and the future. An explosion of prints, colors and layers, the KENZO X H&M collection is a perfect example in how to bring a fashion house’s evolution to the general public. Launched in NY with a fashion show and event art directed by Jean Paul Goude which featured dancers, beatboxers, whistlers and musicians, the collection mixes jungle, sportswear and folk in a fun, energetic way.


Taking inspiration from Kenzo Takada’s mix & match attitude ( which originally wasn’t quite a choice as he had to source his fabrics from flea markets) The designer duo of Lim and Leon paired colorful animal prints, floral patterns and folkloric dresses, romantic ruffles and neoprene, bold colors and prints, some even on the same item as many are double-face.
“Kenzo, as a brand, has such a rich and fascinating history, it can be hard to determine what exactly we have changed, with our new collections, we hope that we have injected the brand with a youthful spirit and a sense of fun and cheekiness.’’ Leon has said a year after they started designing for the house, ‘’ But we also want to respect and preserve the traditions of the Kenzo house, such as the importance of prints and the sense of worldliness and travel that has been intrinsic to every collection in the history of Kenzo.” Their collaboration with H&M might not be the ideal wardrobe of the retiring flower, but it shows their impressive grasp on the delicate balance between modern attitude and brand heritage.


The KENZO x H&M collection will be available in over 250 H&M stores worldwide, as well as online, from November 3.

MODEL ALEXIEY AT WONDERWALL

PHOTOS & STYLING RICCARDO SLAVIK

ALL CLOTHING & ACCESSORIES KENZO X H&M EXCEPT SHOES H&M

Mina and Balletti ( a piece for Candy)

Uncategorized

-8 -7

Photos Mauro Balletti  text Riccardo Slavik  ( originally published in Candy Magazine )

I first came in contact with Mina and her three-octave range as a very small child, my father was a fan and I would play her 45 rpm singles on my orange portable record-player, we were in the early 70s, Mina was arguably the best italian singer ever and an iconic presence that couldn’t be avoided: she was on tv, on the radio, on your stereo. Her look was striking and chic, her life was free and glamorous, her songs dramatic and modern. It was a great time to be an italian singer; pop was leaving the easy bubblegum fun of the 60s to explore the drama of love and sexuality. Mina was a perfect candidate to embody the emancipated woman, pop’s ‘’ bad girl’’ : she had even been banned from italian tv for a while when in ’63 she refused to be secretive about her relationship with Massimiliano Pani, who was separated but still married and the child she was expecting from him; but the ban didn’t last long , the public was always on her side and clamored for her to be back on tv. Her public smoking, dyed blond hair, shaved eyebrows and heavy make-up, short skirts and free attitude made her a model and an icon. Without trying or meaning to, she pushed the strict limits imposed on italian women by the catholic church, while still being a sex symbol to the men.
In 1978 Mina left the stage, vowing not to perform in public again, live, recorded or otherwise, ( I remember my father going to her farewell concert and recording it on his portable cassette player, we used to listen to that dodgy recording every time we took a long trip by car), but she never stopped recording her albums. Between 1972 and 1995, she published a double album each year. From 1973, her LPs and CDs have been characterized by the genius of art director Luciano Tallarini, artist Gianni Ronco and photographer Mauro Balletti. From the 1980s, the design of the album covers was trusted to Balletti, (with Ronco still drawing her from time to time), he has been the filter between Mina and her public since. Together they have created the iconic images which not only were the means to present Mina’s work, but also the only visual communication between the artist and her public. Their means to this end, their chosen medium, was quite often ‘‘Camp’’, Mina bares herself through artifice and make-up, Mauro hides her behind retouching, collages, art, often with an irony lost on some of the critics at the time. With the disappearance of the physical star the icon appeared, her natural likeness gradually evolving into mythical creatures which were at turns ironic, dramatic, over the top, even silly; this was the only visual accompaniment  the public had for the sounds coming from her records, thus she could finally live her private life without a care about her image, leaving behind the continuous diets and weight shifts that her perfectionist nature imposed on her body beforeshe finally gave up her’’public persona’’ in ’78. Salomè and Rane Supreme came out towards the beginning and the end of the 80s, and both show Mina at her most iconic, ironic, camp. Hiding herself behind a long, flowing blond beard she is playing subtly with the biblical implications of the album’s title while at the same time looking both glamorous and a bit ridiculous, her look of slight scorn makes it hard to judge her attitude and intentions. Baletti’s painterly background and command of ironic visual quotations is quite apparent in the chiaroscuro of earth tones the make-up artist Stefano Anselmo applied to her face, giving her a surreal, bearded Monna Lisa look. Her camp,  gay sensibility, is most evident in Rane Supreme, which shocked some for showing her head grafted on a bodybuilder’s body, and for the hilarious song ‘’Ma Chi E’ Quello Lì’’ a tale of a lonely woman’s trip to the grocery store, where she tries to pick up men, describing them with a drag queen’s verve and vocabulary ( the video for the track featured another gay icon, Monica Vitti, on a rampage in a supermaket ), it has obviously been a hit with italian drag queens ever since… Drag and Camp have been part of Mina’s life for a long time, she even did a cover of ‘‘Sweet Transvestite’’ from The Rocky Horror Show, which is probably the campest song ever written. Her forays into camp play quite often with accepted notions of  ‘’ good’’ taste , but then again, if ‘‘camp’’ is on the menu, there is only one mantra to follow, Franco Moschino’s : ‘’Il Buon Gusto Non Esiste!’’ ( ‘’ Good Taste Does Not Exist!’’). What Balletti and Mina did with her covers was turning upside -down the concept that ‘’good’’ art should be simple, honest and true, through artifice and kitsch they uncovered the clichè in art and art in the clichè, revealing in the end everything by studiously hiding the artist, creating the icon for the voice to heard.

RS