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amphtaminedreams · 5 years

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S/S 2020 Fashion Month: A Basic, Uneducated Fashion Heaux’s A-Z of Everything Noteworthy (Part 2/3)

Hi to anyone reading,

Back at it again with the giving my unsolicited opinion on 2020′s spring/summer offering, I’m gonna hop straight into part 2 of my fashion month review!

Sorry to start with an underwhelming few but my compulsive tendencies are making it really hard to break out of this alphabetical structure (cry laughs whilst thinking about how long it took me to face up at my retail job last night because it would give me vaguely homicidal urges and make my fingers tingle every time a customer moved something slightly out of line), so I’m gonna whizz through a handful of collections. First up, Halpern:

Not much to say but I’m envious of the heavy liner (my hooded eyes could never) and I like the colour scheme. As for the 80s style metallic pink dress?

Helmut Lang:

And Hermes:

Of these 3 collections, Hermes is definitely the most interesting. I like the colour scheme and the utilitarian shapes and the tan coloured jackets are an absolute shoot. This is how you make safari look fresh, D&G take note.

Isabel Marant was okay. It’s cute, sure, reminds me of something Mary-Kate and Ashley would’ve come out with/worn in the 2000s, and there’s definitely some things I would wear, but I wouldn’t say it looks all that luxury. Pricey, sure, but like, Free People pricey, not designer pricey. As a collection, it’s not all that conceptual, unless the concept is L.A girl does a Starbucks run after her bikram yoga class. What I will say though is that some of the S/S 2020 commercial trends are becoming clear: white cheesecloth pieces, peasant blouses, cowboy boots, scrappy sandals, neutral tones, and bandana print.

Now onto the darling of high fashion Twitter: Jacquemus.

As far as presentation goes, this has to be one of my favourite set-ups of the season; a hot pink runway running through a lavender meadow is as canny and serene as those who sing the praises of Simon Porte Jacquemus would have you expect, and the clothes were easy, breezy and beautiful, even if there is an element of getting dressed in the dark going on with the styling which put me off including a few otherwise gorgeous pieces. It might not be 100% my style but you can tell this is a brand of the future which is only going to go from strength to strength.

And everything was beautifully and purposefully crafted on the runway with J.W Anderson this year. The pieces are graceful and timeless whilst still easy to envision as something a modern woman would throw on to (very fashionably) run some errands in the city. This was also one of the handful of shows (IIRC! This might be a case of extreme deja-vu!) where we saw the sandal straps tied over the trousers, I’m guessing to accentuate the ankles, and...I’m surprisingly here for it? Though in a sense it kinda resembles when I accidentally get my work trousers tucked into my slipper socks, it’s an interesting touch and adds a bit of a shape to otherwise billowing bottom halves.

Following Jacquemus’ lead (or vice versa, I’m way too deep into this fashion month haze to work out who went first at this point), Lacoste also put on a co-ed show. Otherwise crisp and preppy as per, the neckerchiefs (even if seeing them all next to one another does give off a bit of a Disneyland Main Street barbershop quartet vibe) and vinyl/wet-look/PVC/I’m still not sure what differentiates the 3 coats were an out of the box touch for them and I really liked it. It’s athleisure, but more like something Hayley Bieber would’ve worn as part of her Princess Diana inspired shoot than anything I’d wear to the gym.

LMAO, as if I go the gym. But you get my point. Next, Loewe:

Delicate, feminine and all around delightful, the S/S 2020 Loewe collection is up there with Chloe and Brock when it comes to most spring appropriate. More chiffon, lace and doily-like detailing, please, the old woman in me lives for this kinda thing made fashionable. Like with J.W Anderson, you can tell the design team wanted to do something different without just throwing shit onto their pieces for the sake of being wacky, and so we end up with these dramatic, slightly geometric waistlines and almost angelic Victorian nightgown inspired dresses that kinda make me wished that 1). ghosts existed and that 2). I lived back in that era so I could die some tragic death wearing any one of the dresses on the left in the top 3 rows and then haunt the shit out of everyone. That would really be an iconic fashion moment. Also wonderful, imo, was Louis Vuitton:

The mix between 60s and Edwardian I never knew I needed, as opposed to Gucci’s forward thinking take on the former decade, Louis Vuitton takes it back even further and throws in late 19th/early 20th century structures and references. I adore the what seems to be a mix between brocade and paisley print and the exaggerated collars are a very cute touch. The jacket on the top left is a highlight, a more neutral version of the similar catsuit seen at the Longchamp show (I couldn’t personally pick enough highlights from that to include it), and I now more than ever really want to try and pull off a sweater vest. The shoes might not be the most exciting thing ever but they’re also a personal favourite, from the knee high boots to the loafers with the LV moniker.

Maison Margiela was very cool and again, I’m in love with the shoes and just the accessories in general, ESPECIALLY those hats. I don’t know if I’m way off base here but this show is almost a modernised, fashionable version of a 1940s period drama about WW2 pilots and evacuees. Yes, maybe I am just getting that solely from the trench coats and the naval influences and the exaggerated collars but I think with that list I made quite a case for that perspective, right? Right.

And completing this holy trinity (appropriating the term I usually reserve for Emma Watson, Emma Stone and Emma Roberts is not without careful consideration) is Marc Jacobs. One of my ultimate favourites of this season, this collection is absolutely EVERYTHING: kitschy, dream-like, whimsical, over-the-top, and totally appropriate for your slightly eccentric aunt who always drinks too much wine and talks a lot of shit every time she comes over for dinner. I really feel like I walked into wonderland looking at this collection, and in the best way possible, it gives me a female Russell Brand in the 2000s’ wardrobe on crack. On the one hand we have these insanely beautiful and ethereal chiffon floral dresses but then we also have fricken top hats. Basically, it’s everything I love about fashion and I don’t know if anything can top it. Periodt (and I type that with a totally straight face).

Next, onto another personal fave, Marchesa:

Which is as always, beautiful. I was going to write that if Disney princesses came to life and lived in the modern world (so, in other words, Elle Fanning), they would be wearing Marchesa and then I remembered that the film Enchanted exists and had a lightbulb moment and thought OH MY GOD IF THEY REMADE THAT IN 2019, THE DRESS ON THE RIGHT IN THE MIDDLE ROW WOULD BE A PERFECT LEVELLING UP OF THE CURTAIN DRESS.

Anyways, favourites of the favourites are the bottom row; I would die for that feather trim.

BUT where Marchesa is everything opulent, overly ornate and err-ing on “fussy”, Margaret Howell’s S/S 2020 collection is completely stripped back and just as effective, if not as to my taste. Very cool, very current, and altogether effortless (in a good way!), with this show Margaret Howell made mid-20th century utilitarianism relevant. I never thought I’d be praising the combination of bermuda shorts, crew socks and a beanie and yet here I am. Character development.

Next is Marine Serre:

Which I really like! The bottom row isn’t really to my personal taste but I can acknowledge that if I saw somebody wearing any one of those outfits I’d think they looked sick, and as for the first two rows, those mesh tops and the slightly chintzy florals are right up my alley.

Marques Almeida put out a really strong collection, imo. The blending of luxurious silhouettes and fabrics with street wear inspired prints and styling is a really interesting and unique contrast and if Billie Eilish ever decided to stop wearing those tweenie clothes and wanted to actually seduce somebody’s dad (I LOVE BILLIE EILISH AND I KNOW WHY SHE DRESSES THE WAY SHE DOES, IT’S A JOKE, PLS DON’T HATE ME), I’d love to see her wearing something like this. It’s a blend of punk, urban, and 2019 e-girl and has the kind of edge that Topshop has lost over the past couple of years that used to make it so aspirational to my 13 year old self. Of all the shows, it also probably has the most personally wearable accessories, and a shit tonne of cool make up looks I’d love to try if it weren’t for my lack of visible eyelid, lol.

Make up looks were a highlight of the Max Mara show too, for me anyway.

I otherwise wasn’t hugely keen on the collection, it being a little too matronly/Miss.Trunchbull-esque for my liking (wild card fashion inspiration of 2019, apparently?). The light paisley print dresses are very dreamy, though, and I can never resist a good suit.

As for Michael Kors, dare I say it, but the basic bitch in me loved it. I know as a designer he’s not held in very high regard by the fashion community and I'm not saying it’s at all original but it did what it set out to do well; I mean, it’s quite fitting that he cameo-d in an episode of Gossip Girl because every outfit would be perfect for the Constance attending incarnation of Blair Waldorf, which is probably why I like the collection. Like yeah, it’s a bit of a Polo Ralph Lauren/Lacoste rip off but it’s daintier and more feminine and so I’m not gonna lie, I’m on board with it.

Next, Miu Miu.

One of the collections I was most excited for, I was a little disappointed. Don’t get me wrong, I really like the collection, but I have never once disliked anything Miu Miu and I usually love it. There are things I love about this line too: the cream, floral lace-up boots, the off-the-shoulder cardigans, the houndstooth oversized coats and of course the fur-lined gilets. My mum used to buy me similar ones when I was a little girl and so they give me childhood nostalgia in the best way possible. I mean, the collection is as girly and eccentric as ever. I think it’s just a little too on the primary school librarian side for me, this time round. Sorry Miu Miu xoxo

Now I’m just gonna speed through a couple, starting with MM6 Maison Margiela, the younger sister to the more expensive regular Maison Margiela line:

And Monique Lhuillier:

So that I can get to one of my other ultimate favourite collections for S/S 2020: Moschino.

Oh my god, where to even start. Firstly, I might be reaching, but if this show is even remotely to thank for art nouveau mesh tops showing up in the Urban Outfitters new in section, then a very sarcastic thank you to Jeremy Scott. You just made ethical shopping a lot harder. HOW am I supposed to not buy an Alphonse Mucha top? HOW!? I mean, I’m sure I’ll manage (I’m on month 3 without a shopping spree I can’t actually afford now and yes, I am very much patting myself on the back), but HOW!?

But on a serious level, if renaissance was the print of 2019, which I’m still very much into BTW, bring on modern art as its 2020 replacement. The Pablo Picasso inspired show not only livened up a generally pretty predictable fashion month but it’s also got me searching up other times art has met fashion on the runway and thrown me down a particularly aesthetically pleasing wormhole I’m not sure I ever want to escape from (https://frontrowmagazine.ca/art-inspired-looks-were-all-over-the-runways-of-fashion-week-a74e8bc7ff0d and https://www.vogue.com/article/spring-2017-ready-to-wear-fine-arts-trends are good starting points!).

Mugler was also up there with the best of them, imo:

See, if the Moschino collection was all about dabbling in art class, Mugler’s S/S 2020 collection is its more mathematically inclined sister, all about sharp lines and deconstructed silhouettes and symmetry all whilst looking hot as fuck. So very Mugler, basically.

Now, this reference might be slightly off because I haven’t actually SEEN Ex-Machina yet but I imagine if Kim Kardashian were to channel that movie for a costume party she’d end up wearing something from this collection. That sounds like a roast because Kim has worn some questionable outfits but I blame Kanye for most of that and I’m referring to her on a good fashion day, alright!?

As for Off-White, it’s obviously a lot more commercial than most of the lines I’ve reviewed so far. Like, I can see a lot of these outfits on a mannequin in Urban Outfitters (no, I am not being paid to namedrop them, about 3 people in total read this Tumblr so any kind of sponsorship money would be severely wasted on me). That’s not necessarily a bad thing, and I love all of these looks; it just seems unfair to compare them to the the Mugler or Moschino collections, for example.

The stand outs for me are all on the bottom row: I would buy the utility vest, leather blazer and the all mesh turtleneck under washed-out tie-dye on the spot if I saw them in a high street store. Unfortunately, I feel like that’s kinda where they belong. You just expect collections to be a bit more conceptual, and this one is a little watered down, as much as it’s my style.

Oscar de la Renta was beautiful, of course. Not like I’m shook by how beautiful it is but kinda just what you’d expect from a brand with a name as poetic and fun to say as Oscar de la Renta. The silhouettes are dreamy and the details are as fit for a fairy princess (lmao) as ever. Plus can I just say how happy I am to see butterflies on dresses for adult women again!? And dresses worn by Blanca Padilla nonetheless!? Very here for it.

Next up is another on one of my fashion month highlights: Paco Rabanne.

LOOK AT THIS SHIT!

I mean, don’t get me wrong, something about this collection (I’m pretty sure it’s the knee high coloured socks) is giving me primary school teacher vibes, but I'm not mad about it. It’d be the kind of teacher who’s actually really good at their job and has loads of cool hobbies and a really hot boyfriend or girlfriend or wife or husband who you secretly want to be then you grow up/and or have a huge crush on.

Like with Marc Jacobs, there’s obvious flower child elements here, and whilst on the whole the former took my breath away slightly more, this is a lot more wearable. My favourites are the paisley print dress and cape on the left in the very bottom row and all the chainmail pieces (which remind me of the dress Naomi Smalls wore in that whole club ninety-sixxxxx skit on drag race), plus that floral cut out dress with the trailing flute sleeves, which is absolute PERFECTION.

The 70s influence was clear in Peter Pilotto’s S/S 2020 collection too from the abundance of tie-dye to the knit v-neck dress, zany colour and print being the very on-brand focus. That being said, this is definitely more of a street-style inspired collection than usual and whilst the floral suits and dresses on the 3rd row down are very typical Peter Pilotto, the tie-dye corset and combat trousers on the far right, second row from the bottom, are very Jaded London. As for the reoccurrence of the bucket hat, I’ve remained steadfastly against them for several years now (even when our Lord and Saviour Miss Robyn Rihanna Fenty started wearing them) but the way they’re done in this collection even I could definitely get behind; all in all, the show surpassed my expectations.

The same goes for Ports 1961, which was a lot more eccentric than I gathered is the norm from a few google searches. Honestly, I hadn’t really heard of the brand which, upon reading up on it, I feel very dumb for considering it has been around since (in the shock twist of the century) 1961.

Yes, I know how that sounds! But forgive me, I’m still learning:)

Anyway, the fishnet detailing alone pretty much sold the looks I picked out. Seriously, I got a pair of those bloody tights, like, 2 years ago when they became a thing again and now any outfit where I have my legs out feels incomplete without them.

Next is Prabal Gurung, which, as far as presentation goes, was fucking STUNNING:

I mean, you could say that I’m easily impressed and that the presence of the bouquets won me over (and you’d definitely have a point there), but it’s also this year’s Givenchy haute couture-esque feathers, the trailing pearl necklaces, the exaggerated shoulders, the dreamy colouring, the everything looking like it could’ve grown off a very fashionably-inclined tree. Like, there’s a lot to love here, from the naturalistic elements, to the context behind the show, an ode to American fashion history and those cast out of it (and the notion of “being American” in general) for so long.

Going from a high to a (personal) low, however, next we have Prada:

I don’t know, I get that it’s supposed to be simple and stripped back and dignified and whatever and I like the looks I picked but it’s just a bit blah for me. The bonnets that kept cropping up just didn’t do it for me and almost ruined what is an otherwise nice skirt suit (top right). Nonetheless, I like the silhouette of the sheer black dress and the the brocade print suit is really luxurious looking, even if the pattern is a *little* Wetherspoons carpet.

Anyways, here’s a quick overview of Rag and Bone:

So that I can stop moaning and get onto a collection I REALLY liked:

I am of course talking about Ralph and Russo. See, this is kinda what I expected from, like, Chanel and yet it’s Ralph and Russo that delivered. Also, it gives me Alessandra Rich vibes which is very much a compliment considering how much I love her designs. I mean, if Valley of the Dolls were to get another film remake in 2019, this is exactly what I’d like to see the female leads wearing, from the pastel suits to the satin kaftan style dresses. The yellow feather trimmed dress is practically a copy of something Marchesa has already done but it’s cute all the same. In my top 10 collections of the season, for sure.

Rick Owens was another strong collection; it goes without saying that it’s not the most wearable but that’s not really what Rick Owens is known for, so I wouldn’t expect anything else. If you want fashion on an alien planet, or something Lady Gaga would’ve worn in 2010, he's your man.

Next, Rodarte:

Obviously the dresses are beautiful and the set is magnificent, BUT...I’m really not a fan of the whole celebrities filling in for high fashion models thing. I like Lili Reinhart and I adore Kirsten Dunst, she’s been in a load of my favourite films, but in a similar vein to Dolce and Gabbana’s influencer show, it’s just distracting from the actual garments, if even worse because I don’t WANT to be distracted here (the same can’t be said for the D&G show, lol). If anybody has read this far, let me know your thoughts!

Roland Mouret was nice, and I always like a coed show, especially when a designer isn’t afraid to blur the lines of masculine and feminine. It’s fresh, lightweight and luxurious looking, Cannes film festival street style eat your heart out, and I love the colour palette.

Similarly, colour was my favourite thing about Sally LaPointe’s S/S 2020 collection.

I would never think that teal and burnt orange would work together, let alone in some kind of faux leather, and yet here we are. Orange is in itself always an interesting colour choice, perfect for the summer with a tan, and I really love monochrome outfits, even though they’re something that ends up being quite pricey to put together; slight differences in tone are okay but if you just randomly throw together a few things and they’re too off, it really doesn’t work and you’d have been better off wearing contrasting colours. For that reason, I’m just gonna admire that all-pink outfit from a distance.

As for Schiaparelli, it’s one I always look forwards to for the sheer weirdness. RTW isn’t quite as kooky as haute couture but still, the interesting choices are still there; what at first glance appears to be flame print is actually coils of hair, and paired with a water print suit is a sequinned jacket emblazoned with a paradisiacal mirage. Ornament-like facial decorations as seen in the over-exaggerated glasses worn with the pony hair suit are also one of my favourite new things to happen in the high fashion scene in the past couple of months and I can’t wait to see how they get watered down to become more approachable for us...regular, non-structurally blessed folks who can’t pull off anything and everything.

Simone Rocha was STUNNING. Romantic and ethereal, it’s druid goddess crossed with upper class Victorian woman of leisure, equal parts delicate and grungy, like a modern, fashion version of Lady Gaga’s Scathach in the Roanoke season of American Horror Story. You know, in the flashbacks, not in present day when she was all gross and like...scalping people and shit. Each dress is so ornate and has such an interesting structure, and the fabric choices give off an organic kinda vibe that create a handmade feel; the collection is, imo, really worthy of being shown under a haute couture heading. When it comes to my favourite element of the show, I’m torn between the petticoats and the hair accessories. I’m just gonna give a cop-out answer and say both.

Stella McCartney on the other hand, is very much a clear ready-to-wear collection.

It’s pretty, for sure. The pastel blazers paired with delicate white mesh tops underneath are a gorgeous combination for spring and I like the reoccurrence of the chain glasses (Gucci, right?). But I mean, when you go from Simone Rocha to this, it’s a bit anticlimactic. Plus, if I’m honest, kaftans are always going to remind me of Honey Mahogany from season 5 of Drag Race. Don’t get me wrong, I’m sure she’s a lovely person but her runway looks aren’t really ones I look back fondly on, and you’re lying if you say you enjoyed them for anything other than meme purposes.

Temperley is equally meh, though the return of the Erdem-style boating hats is getting me excited that high street retailers might actually pick up on the trend and bring out some cheap ones for me to embarrass myself by wearing.

I also love a good 70s suit, the neckerchiefs are cute and there are some really delightful prints here that are a more unique approach to florals for spring.

Coming towards the end now, next is Thom Browne:

I LOVE this. Like, don’t get me wrong Rick Owens was cool but I adore how on the nose the concept is here; time to bring back all the Marie Antoinette puns I didn’t get to use in my Versailles Instagram post. I don’t know if it’s the history buff in me or the Sofia Coppola Stan but I will always be willing to sign any kind of treaty for anything related to the excesses of the 18th century French monarchy, and this is that turned up to 1000 infused with a dash of the Teletubbies, which sounds like a nightmarish concept, I know, but as high fashion it WORKS.

Tory Burch was very commercial, seemingly half inspired by Monterey yoga moms and the other half by Hamptons socialites.

And then there was Valentino, which was fucking exquisite, imo. LIKE, CALLING DOCLE & GABBANA: THIS IS HOW YOU MAKE TROPICAL PRINT INTERESTING. YOU MAKE THE VELVET MONKEY’S ARM THE FRICKEN WAISTBAND.

Seriously, though, I am enamoured with this colour palette; all the whites and golds are angelic and fr, I didn’t know until now that you could make neons this elegant. I’m also getting an almost clerical feel from a lot of these looks, with the plaited waistband on the black dress that’s 7th row down in the middle, the stunning red cape and the multitude of exaggerated neck ruffs. I think I’ve mentioned before but I always love religious references in clothing-I don’t think I’ll ever get over the 2018 Met Gala-and so whether I’m reading too much into it or not, this collection really did it for me.

Whilst it’s probably as far removed a collection from Valentino’s S/S 2020 contribution you can get, I also loved Vera Wang this season. It might purely (I PROMISE THIS IS MY LAST GOSSIP GIRL REFERENCE) be because it gives me Jenny Humphrey vibes and *controversial* she did have my favourite style of any of the main characters, but sue me, this is just the right amount of late 90s/early 2000s grunge. Deconstructed trashy goth it girl is an interesting concept to see on the runway and I completely support it.

Versace on the other hand was very hit or miss. The looks I picked out I really loved but ultimately, for one of the household name brands, a lot of the actual garments were a bit pedestrian. I will say though that for me, it’s a case of the whole being greater than the sum of its parts. The slicked back mermaid hair and the pops of colour in the makeup and the interesting necklines meant that when it was good, it was GOOD. However, overall, still a bit too 80s Miami businesswoman, and please GOD, can we leave that hideous J-Lo dress in the past, it should really not be the climax of the show in 20-fucking-19!

As for Victoria Beckham, I liked it, but it’s a bit of a Gucci copy, no? And no way near as interesting?

And on that note, I’m gonna have to cut this off. Super annoying but with only 5 collections left that I want to talk about, Tumblr is being a little bitch and will not let me add anything more to this post. So, see you in 5 for the final post!

Lauren x

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ashleyjouharphotowords · 5 years

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The second of a two part Miles Aldridge interview I did for the Image Source Picture Agency. Here, the avant-garde fashion photographer talks about the transition to a different creative vision, and the contrasting influences of Richard Avedon and Helmut Newton.

Ashley Jouhar: The transition you made to the kind of work that we associate with you as a photographer now… how did you go about creating that imagery?

Miles Aldridge: Well as an example, I had this idea for a photograph that took place in a car, with the exhaust coming through a window. That could still work as a photo. I wanted to do a series like that but what other ideas could I come up with? I went through the other ideas and they were all to do with suicide! That’s how it started to happen.

The people I worked with were very accommodating, especially Italian Vogue. I’d done white background shoots for them for quite a while. So when I proposed to do something with a bit of narrative to it, as along as I shot their clothes they were fine with it. Actually, those pictures turned out quite well – they emboldened me to do another one and another one.

Some of the early stories aren’t much of a story but there is still a story there because something is happening. I remember one where I just wanted to have a white kitten in every picture. Following this girl around the street loosely inspired by this girl from La Dolce Vita. That was a case of making sure there was a white kitten on set and just making sure it was in every picture.

Ashley Jouhar: How long does it take now to make an individual image and what’s the size of the team involved?

Miles Aldridge: The team is the same now, it’s a bit like a Rock ’n’ Roll band. Instead of the drummer, the bass player and guitarist, you have the stylist, hair-dresser and make-up artist, the set designer and the prop stylist. It is like a small art movie team – it’s not Hollywood. It’s a group rather than a massive bunch of people. I try to keep control of it, keep costs down. So it doesn’t becoming exorbitantly expensive. As long as my drawings are quite accurate from the beginning, I don’t have to make huge sets, I just make the bit I really need.

Typically I’ll have an idea and I’ll sell the idea to the magazine. Within that six months we’ll shoot it as an idea, over two days mostly – sometimes over one day. Now half the shoots are one day shoots.

Ashley Jouhar: Is it mostly sets you shoot in rather than locations?

Miles Aldridge: It goes up and down, I go through different phases, sometimes I like shooting in locations as I find locations give you a lot more options once you are there. They exist in architectural space. If the idea you had thought of doesn’t work, you can probably move the camera and find something else that does work. Whereas a set has no Plan B. You are pretty much figuring out your shot when you are doing a drawing and have the set constructed accordingly. It’s quite nice going into a location like a hotel room and taking it over changing it and putting lights up and really doing a number on it. Changing it through the camera, though the lighting, and propping. I’m quite happy in a studio as a set as well.

When you have a free rein, and it sounds like a lot of the time you have, it can be more difficult to create, as the world’s your oyster. How do you impose your own parameters to get to be where you want to be?

Because I work for Italian Vogue the parameters are not defined but are well understood. You can do a picture of a crazy woman but it does have to be tasteful, it can be contemporary so it can include knowledge of contemporary art but I think it can’t be shocking for its own sake and it can’t trample over certain taboos.

There’s a restriction there and of course you have to show the clothes. And I’m also obliged to make sure that the woman looks really beautiful even if she is weird. There are enough parameters there to make it interesting. I agree though, when artists are given free rein, they often produce rubbish. I like to consider myself working in a similar way to the Hollywood writers and directors in the 1940s and 50s… Celebrating that and everything in between.

Ashley Jouhar: When we were talking at your show Short Breaths, about film versus digital, you were saying you do some commercial jobs on digital but mostly you are shooting on film to get the qualities it provides. For shoots for Italian Vogue for instance, would that be film?

Miles Aldridge: Absolutely. All the work in Short Breaths and all the work in Somerset House was previously published in magazines and ninety percent of that was Italian Vogue. For me, the personal work is the magazine work – I consider that my art, in the same that Richard Avedon and Helmut Newton did too. I don’t consider that commercial work even though it’s for a magazine. What I consider commercial work is pure advertising, where it’s a product for a company who want me to show their things. You have to work with someone else’s brief in advertising. Historically, editorial photographers are reporting on the world. They are aware of fashions and the world they live in so the ideas they have and the images they come up with are not just to show the clothes – that would be deadly. The job of the fashion photographer is to subtly make comment on the world he lives in.

Ashley Jouhar: Which fashion photographers have influenced you? Whose work do you like the most?

Miles Aldridge: I think as far as being incredibly serious about what he did – and he straddled such a huge period of human culture and commented on it, it would be Richard Avedon. Helmut Newton is also a very interesting and prolific artist who did the same for a more concentrated period in the 70s and 80s. He did in the 60s too but came into his own in the 70s. He was such a pervy, dark guy but I think that vision suited that world of the 70s. Both of these artists are true to their own nature. There is something about Avedon and his obsession with grace and glamour but he was massively aware of the world he was in, the Berlin Wall coming down, the rights of Black people, or the American West project being a shocking report on one of the world’s richest countries.

Ashley Jouhar: He was heavily criticised at the time for some of these images. But look how influential they’ve been.

Miles Aldridge: Irving Penn is another one. He is less a fashion photographer than a still life one. In his way, he has an incredible breadth to his work, a huge span of human existence that’s fantastic.

Ashley Jouhar: I saw the Platinum Cigarette Butts show at Hamilton’s last year – phenomenal to see them all together…

Miles Aldridge: Wonderful…

Ashley Jouhar: And again very influential…

Miles Aldridge: Like a lot of great work, if the idea is great you can get the cigarette butt out of the gutter and put it under a camera. He followed it through technically and did it brilliantly, but for me the brilliant bit of that is the idea. He said, walking home from the studio, he would pick up these little bits of detritus and bring them back to the studio the next day to photograph. It’s the idea to do that that’s the amazing thing.

Ashley Jouhar: It’s easy to look back at stuff like that and say, well… that’s an old idea but of course, at the time it was breaking new boundaries…

Miles Aldridge: And in its own way it was talking about consumerism.

Ashley Jouhar: One more question. Your current body of work has an ‘energy’ and a ‘Miles Aldridge’ look and feel. Is anything hatching in your mind as to how you are going to move it on? Where are you going to go next with your style or approach to image-making?

Miles Aldridge: The exhibition and the book are both incredible full-stops for me – a double full-stop. I feel the new work after this, starting in September, will be different. What I am doing right now is really considering that. I feel the body of work at Somerset House is a really complete representation of how I felt about the world up until now. Now that’s off my chest it leaves room for me to think again and see things in a different way.

Ashley Jouhar: Thank you very much Miles.

#fashion photography #fashion #art photography #pop art #ashleyjouhar #miles aldridge #british vogue #vogue italia

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thefuturewontwait · 5 years

Photo

Aweng Chuol in Helmut Lang SS18, SSENSE

Art Direction: Thanh Truc Trinh, Photography: Étienne St-Denis, Styling: Charlotte Ghesquière, Beauty: Ashley Diabo, Production: Jezebel Leblanc-Thouin.

#Helmut Lang #aweng chuol #ssense

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thedjmusic · 2 years

Photo

Berlin Deep-Tech House Top 100

DOWNLOAD: https://newdjmusic.com/music/berlin_deep_tech_house_top_100

DATA: 2022-04-24 TOTAL: 103 FORMAT: MP3 QUALITY: 320 kbps GENRE: Deep-Tech House

1,"Offplan - JiNGO.mp3"

2,"ETHERYAL - Strong.mp3"

3,"Bottler, GONE - Tacoma - Gone Remix.mp3"

4,"XlamoorX - Mask On.mp3"

5,"COLOR.LOVE - Waiting.mp3"

6,"Hugo Massien - Quantum Mechanics.mp3"

7,"Thirty - Oh Baby!.mp3"

8,"Leigh Michio - Decades.mp3"

9,"Gregor Klamra - Reinbek Rodeo.mp3"

10,"Beatamines - Grandma.mp3"

11,"CastNowski - Fool For Nothing.mp3"

12,"The Sahoo Conection - Latina - Original Mix.mp3"

13,"Foreign Guest, Dr. Tax - Chemu.mp3"

14,"Vvrn - Spearmint Tea.mp3"

15,"Jamback - Roaring 20's.mp3"

16,"DJ Minx, Carl Craig - Do It All Night - C2 Edit.mp3"

17,"Ben Sterling - Rok The House.mp3"

18,"Maceo Plex, Liberty City - You Know What I Got - Extended.mp3"

19,"Hools - Arkady.mp3"

20,"Nosssia, ID Project - Ultramar.mp3"

21,"Pizarro - work dance move shake for me - Extended Mix.mp3"

22,"Wilkie - Demolished.mp3"

23,"Phil the difference - Odyssey.mp3"

24,"Enflure - Ferragosto.mp3"

25,"Tunebased - Let It Go - Radio Edit.mp3"

26,"Zoo Brazil - Magic Feeling.mp3"

27,"Lito AR - Rush.mp3"

28,"Taylan - Psycho.mp3"

29,"DJ Atlance - Diva or Not.mp3"

30,"Lloyd Ashley - Rock the house.mp3"

31,"Hidde van Wee - Day After Tomorrow.mp3"

32,"Diplomatic Enjoy - Higher African Rhythms.mp3"

33,"Techu - Olimpiada.mp3"

34,"Gaisfool - Timing.mp3"

35,"Crvvcks - Palms.mp3"

36,"Kevin Knapp - Dancing With The Devil.mp3"

37,"Jyoel, Etzu Mahkayah - Bungee Jumping (Etzu Mahkayah) - Etzu Mahkayah Remix.mp3"

38,"Tokujoros - Deep Perco - Original mix.mp3"

39,"Reechar Nills - The North.mp3"

40,"Faucon - Make It Right.mp3"

41,"biskuwi - Valerie.mp3"

42,"The Gabe Concept - Cosmic eternity - Extended Mix.mp3"

43,"Tony Shades, Joël Kaspen - Wolves.mp3"

44,"Bullynho - What We Do!.mp3"

45,"MRMR - You Feel It Too Right?.mp3"

46,"Drew Quinn - Madam Groove - Radio Edit.mp3"

47,"Bram VanK, ambiophonic - Inevitable Sunset.mp3"

48,"Bruno Bar - King.mp3"

49,"Josh Butler, Lauren Lo Sung - Vortex - Edit.mp3"

50,"Waycool Junior - Fire Hazard.mp3"

51,"Meedoe - Attraction - Radio Edit.mp3"

52,"Evan De Novellis - Off World - Radio Edit.mp3"

53,"Nellis - You'll be fine - Original Mix.mp3"

54,"Tchaka - Zeus.mp3"

55,"Disclosure - Observer Effect - DJ-Kicks.mp3"

56,"Brandon Butler - Forget.mp3"

57,"NODEN - One of These Days.mp3"

58,"Baccus - Can You Feel It.mp3"

59,"Oliver Schories - Monza.mp3"

60,"Acid.gray - La Fête.mp3"

61,"GONE - Control.mp3"

62,"Audiojack - Missing.mp3"

63,"KA:US - Ace 320.mp3"

64,"Legit Trip - Too Many Times - Original Mix.mp3"

65,"Jimi Jules - Grumpy Monkey.mp3"

66,"Helmut Ebritsch - Interconnectedness.mp3"

67,"Mat.Joe, C'mon, Otistic - Pan Praise - Extended Mix.mp3"

68,"Martinbeatz - Help Me.mp3"

69,"Robert James - Space Beats.mp3"

70,"VSY - Just a Feeling.mp3"

71,"Dusky - Eros.mp3"

72,"Jonas Franzen - Wout 3.mp3"

73,"Majesty - Step Up - Original Mix.mp3"

74,"Bubba Brothers - Amandla (Tutu) - Extended.mp3"

75,"Philipp Zappel - Kids Who Get High.mp3"

76,"Philipp Zappel - Fat and Broke.mp3"

77,"Andrea Satta - Amanecer - Vip Radio Edit.mp3"

78,"The Gabe Concept - Tulum.mp3"

79,"Bubba Brothers - Strange - Extended.mp3"

80,"Rizbo - Break.mp3"

81,"Swimrabbit, DAHEE, Jeremy Olander - shy creatures - Jeremy Olander Remix Edit.mp3"

82,"Adriassi - Levitate.mp3"

83,"Charman - Get On - Original Mix.mp3"

84,"Creange - Galaxy.mp3"

85,"Steven Cee - Diamond Girl - Radio Mix.mp3"

86,"Alex Virr, Raves All Weekend, Dopamine - Jungle Punk (feat. Raves All Weekend) Dopamine Remix.mp3"

87,"Claude Tarrell - Straight.mp3"

88,"Taylan - Roads to Rome.mp3"

89,"RAFFL - Take Off.mp3"

90,"Lyand - Temperature - Original Mix.mp3"

91,"Max von Sternberg - Master of Two Worlds.mp3"

92,"Alexander Bollinger - Porque No Vienes.mp3"

93,"VAPA, Cross - Mental - Cross Remix.mp3"

94,"Lukas Lyrestam, CINTHIE - H.O.Y.L. (High On Your Love) - CINTHIE's Back to the Raw Remix.mp3"

95,"Branzei, TZEN - Inside Ya Head.mp3"

96,"Lorca - Polly.mp3"

97,"Leigh Michio - Awakening.mp3"

98,"DJOKO - Me & You.mp3"

99,"Luc Trampenau - Keep It Down.mp3"

100,"StuMac - Drop It.mp3"

101,"Rambo - Amusement.mp3"

102,"Threshold Productions - Klifdykos V.2.mp3"

103,"MAQ - Catch-22.mp3"

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madmaxminutepodcast · 2 years

Text

Waterworld: H2O Minutes - Episode 88 | "Water’s End - Part 3: The Battle for Dry Land"

Morgan, Helen, and others flee the pirate flotilla but soon stumble upon a massive vessel that turns out to be a tanker ship. There, they meet its sole resident, Cornelius, and discover the secret of Enola’s unique tattoo. Suddenly, pirates attack and the group must hold them off long enough to find a bearing that leads to water’s end.

Starring: Garrett Lamkin as Morgan, Julia Ristow as Helen, Ashley Serrano as Enola, David Cook as Lazlo, Luka Miller as Angel, Mitch Xander as Helmut, Delanie Balanay as Wanda, Chaz McPeak as Troy & Cornelius, and Ryan Cade as Dieter.

We have a listener's discussion page on Facebook. Find it at Mad Max Minute: Beyond Microphone

Subscribe: iTunes | Google Play | Spotify | RSS Music: Daniel Bautista Support: patreon.com/MadMaxMin

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justdealingwithsomeissues · 10 months

Text

Vermin is able to not just pull himself out of Zemo's control, but all the other mutates with him... and they overpower Zemo... but before Ed can end Zemo, Kafka is able to talk him down from the ledge...

#Marvel #Spectacular Spider Man #Ashley Kafka #Edward Whelan ~ Vermin #Helmut Zemo ~ Baron Zemo

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olivia-fashion-journeys · 4 years

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