Fashion, The Unpublished




Photos by: Lorenzo Marcucci
Styling by: Riccardo Slavik

Styling assistant: Marco Fusari Imperatore
Photographer’s assistant: Riccardo Carraro
Make Up: Grazia Riverditi, Hair Stefano Tambolla both at Glowartists for
Models: Kira Fox and Carl at Brave, Matteo at Elite Milano, Dustin and Artur at Fashion, Alice Wink at Monster

(too sexy outtakes and apparently NSFW alternative edits from Virtue Is Flexibility editorial out on collectible DRY #5)






‘Identities of postmodern men and women remain, like the identities of their ancestors, human-made. But no longer do they need to be meticulously designed, carefully built and rock-solid. Their most coveted virtue is flexibility: all structures should be light and mobile so that they can be rearranged at short notice, one-way streets should be avoided, no commitment should be strongly binding enough to cramp free movement. Solidity is an anathema as is all permanence – now the sign of dangerous maladjustment to the rapidly and unpredictably changing world, to the surprise opportunities it holds and the speed with which it transforms yesterday’s assets into today’s liabilities.’

Zygmunt Bauman On Postmodern Uses of Sex. 1999


‘Much richer sensual fruits of sexuality can be harvested through experimenting as well with other than straightforwardly heterosexual activities.’
Zygmunt Bauman On Postmodern Uses of Sex. 1999


‘We’re all born naked, and the rest is Drag’ this RuPaul quote isn’t just another snappy drag-queen sound byte, it also works as a very profound statement on the performance of identity and gender in modern times. As Grayson Perry notes in his book The Descent Of Man, heterosexual white middle class males ( what he calls Default Men) are certain their clothes, behavior and ideas are ‘natural’ simply because they have shaped our culture for hundreds of years and are therefore ‘the norm’, yet even basic male behaviour is eventually a performance to pass an internalized test of ‘maleness’. Children by the age of 7 are acutely aware of gender, but their ideas on gender performance and identity are based on what adults tell them and how they behave. Pink for girls and blue for boys, for example is a marketing ploy ( gendered items are harder to pass down to younger children unless they’re all the same sex) and quite a recent thing, in 1918 fashion magazines still considered pink to be a ‘stronger’ color, and more advisable for boys. Most identity is conditioning and performance and as Zygmunt Bauman noted in Liquid Love, in the fluid state of our modern times ‘ whatever vocabulary is used to articulate the current plight of homo sexualis, and whether self-training and self-discovery or genetic and medical interventions are viewed as the right way to the proper/ desirable sexual identity, the bottom line still remains the ‘alterability’, transience, non-finality of any of the assumed sexual identities.’ Fluidity of movement among identities, places, even sexual identities is part and parcel of ‘liquid modernity’. It’s not surprising then that a survey by YouGov UK found that 49 percent of 18- to 24-year-olds identifies themselves as “something other than 100 percent heterosexual” or that only 44% of the Gen Z interviewees always bought clothes designed for their own gender ( versus 54 percent of millennials). It’s apparent that a wider dialogue on identity, gender and sexuality has helped the new generations come to terms with the performative aspects of gender and sexuality in a personal, fluid way that was unthinkable even 50 years ago.

text Riccardo Slavik



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.




VOGUE! AND BRING IT! ( A little Flamboyant Magazine Vogueing Revival)

Flamboyant Exclusive

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Special thanx are due to Sergio Tavelli and Plastic

This shoot came out in Flamboyant 3 years ago, due a renewed interest in Vogueing, ( not to mention my personal newfound passion fo the whole scene), I’ve decided to post it, with the original text we published with it, and a Vogueing mixtape I just made…

‘when i first starterd going to balls it was all about drag queens and they all wanted to look like a Las Vegas showgirl.. as the seventies rolled around , the things started changing it startded coming down to just look like a gorgeous movie star.. and now they went from that to trying to look like models, like Iman or Christie Bribkley ..and all those children’ Pepper LaBejia

‘In a Ballroom you can be anything you want..’ Dorian Carey

‘In Jenny Livingstone’s film Paris Is Burning, the director showed these schools of young black men who were obsessed with fashion, grouped together to take part in imaginary catwalk shows, competing for the most authentic enacment of a particolar fashion look. They subverted the often macho performance of rap, hip-hop and other black subcultures, by theatricalising the feminine rather then the masculine.
They recognized that the essence of fashion is the fantasy of escape: At both ends of fashion’s spectrum, couture and subcultural style, there is space for experimentation, for transgression and revolt: In both, those who feel alienated from the mainstream can use visual codes as fantasy and provocation, where appearence is power and style the currency. Drag with its obsession with the details of traditional femininity, the make-up, grooming and accessories, the gestures of the models that populate the glossy pages of Vogue, also highlights the contradictory nature of fashion: While it allows for the possibilities of new moralities, for the formulation of new idetities, it is also conservative, reiinforcing ideas of feminity at the same time as highlighting their fakery’
Rebecca Arnold ‘ Fashion, Destre and Anxiety’

Deep in Vogue, Deep in Vogue
Imagine runway modelling, in freeze frame
At the ball that’s what they call Vogueing

Vogueing is a challenge dance
Instead of fighting you take it out on the dance floor
10!, 10!, 10!, 10!, 10!, 10!, are there anymore!
‘ Deep in Vogue Malcom Mc Laren’

‘I remember the first time I saw it..’ it was some time before Madonna came out with the single that spawned a party monster, a Romeo Gigli fashion show, no less, where Malcom McLaren had brought the amazing Willie Ninja and a few people from his House, ‘Vogueing’ was still very much underground, it felt really cool to know what it was, and we were fortunate to be able to attend, in those days fashion school students weren’t a dime a dozen and sometimes we could see fashion shows without an invitation by simply begging at the door.. this was way before Fashion became Spectacle, and Romeo Gigli was about Minimalism and Intellect, a posse of black queens prancing down the runway and throwing the strangest shapes wasn’t really what one went to his shows for…