Fashion, The Unpublished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, 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




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.




Bold, Beautiful, and Damned: The World of Tony Viramontes


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“I look for new ideas because I like to be in a state of creative anxiety and insecurity. If I feel sure of myself I cannot be creative, I try to renew myself.” 

Tony Viramontes

Damned or Doomed – history will decide. When Tony Viramontes made his debut in fashion illustration in the late 1970’s he scored an immediate success, rapidly acquiring the kind of prestigious editorial commissions often allocated to photographers.  From Lei, Per Lui in Italy, Vogue in the USA, the Face in Britain, as well as Jill Magazine, Marie Claire, Le Monde and City Magazine in France his client list exploded.

His strong and direct style was in marked contrast to the whispered visuals of the 70’s. By the time of his death in 1988 he had been offered creative control of Goldie and worked with some of the most celebrated names in fashion. Valentino loved him, as did Gaultier and Hanae Mori.  He had drawn for Givenchy, Miyake, Yves Sant Laurant, Pierre Cardin, Ungaro and the House of Dior. Portraits of Isabella Rossellini, Paloma Picasso and Janet Jackson were in his portfolio.

Tony Viramontes was doomed to die of AIDS. In the hot and hard disco nights of the 80’s, those who were young, beautiful and gifted were idolized and loved, often by both sexes. They danced and did drugs and had wild sex and most importantly, they supported each other’s creativity – pushed each other’s visions, shared in each other’s process and created the art and fashion and music that defined the decade. Clearly, as can be seen here, it is a magnificent body of work. Now perhaps, twenty years later, can we step back to admire the humanity of it. The care and discipline he gave to each drawing. That magnificent talent grounded in a reality that he insisted be a bit dangerous and insecure. Here is the anxious reality that Viramontes needed to achieve spectacular results. A reality that would ultimately kill him.

Tony never worked from photographs. His models were hand picked and would pose for hours engaged in his creative process. Like Egon Schiele, one of his inspirations when studying art in his youth in NYC, Viramontes had an astounding grasp of anatomy. He did not distort because he could not draw, as many so-called artists attempt to do. He used his acute observation of reality to be the springboard for his work. It was observed, “He did not dream with his pencil”.

His style was fast and electric, and he would work through dozens of quickly drawn illustrations to capture the essence of a pose. The sensuous mouth, the hips and shoulders thrust out, the sass, and the scowl—these became distinctive punctuations  of Viramontes portraits. His depictions of men shared the same insolence and sensuousness he gave to his women. He boldly stretched the boundaries of masculine identity, and his models (and lovers) posed in make-up, jewelry, and exotic turbans.

As the 70’s whispered their way to the end of that decade, the 80’s, like lightning, was white light with hard edges. And when it was over, the 90’s were plunged into darkness as we scrambled to find survivors in the wreckage of a plague that still haunts us. As Fran Lebowitz noted in Scorsese’s biopic, “it was the most talented and most beautiful that everyone wanted to make love to in the 80’s, so they were the ones who died.” Doomed by their beauty, their talent, their joi de vivre – Damned for all the wrong reasons.

on show from 6th September to 3rd November 2013

Tuesday, Friday, Saturday, Sunday, 10.30 am – 7.30 pm

Wednesday and Thursday 10.30 am – 9.00 pm

Monday, 3.30 pm – 7.30 pm

Galleria Carla Sozzani

Corso Como 10 – 20154 Milano, Italia


Bold, Beautiful, and Damned

The World of 1980s Fashion Illustrator Tony Viramontes

By Dean Rhys Morgan

Foreword by Jean Paul Gaultier

Afterword by Amy Fine Collins

250 illustrations