I want to simply say,Romeu Silveira and Igi Ayedun, co-directors of U-Mag, I love you. I feel like I've watched you grow up. I feel like you are the epitome of that new aesthetic called transculturalism; a kind of feeling informing our age today where conventional centers of cultural production ( NY, London, LA, Paris, Tokyo, Antwerp, Berlin, etc..) are finding themselves challenged by a newly decentered axis of creative irruption spewing out of places like Dubai or Sao Paulo.
TI PREVIEW: MODERN MATTER: ISSUE #7: POSTMODERN: Photography: Blommers & Schumm : Curated by: Olu OdukoyaSubmitted by Wayne on Mon, 2014-12-08 16:23.
Submitted by Wayne on Wed, 2014-11-26 16:58.
I simply wanted to say I love your play of proportions in this fetching Max Farago story you shot with Miss Jamie for the new issue of Modern Matter. I remain a fan of your modern mode of styling. It makes us want to sweep a street with fabulous flares. Leggings, jeggings begone…you have us moving on.
Submitted by Wayne on Mon, 2014-11-24 19:04.
Modern Matter describes itself as a "forum for truly bespoke art content that collaborates with artists in real and varied ways eschewing static photoshoots and Q&A interviews" and within that mission statement is a whole world of inspiration. Visually, the magazine aims to treat the presentation of the arts as an art-form in and of itself, through an experimental approach to design and non-linear values in the field of editorial content.
EAGERLY ANTICIPATING: 032c Winter 2014/2015 : Cover 1/3: Stella Tennant by Alasdair McLellan and Benjamin Bruno.Submitted by Wayne on Tue, 2014-11-18 16:18.
Submitted by Wayne on Mon, 2014-11-17 03:54.
Submitted by Wayne on Wed, 2014-11-12 21:24.
Harbinger of a new taste, a window into the by laws and by ways of contemporary Paris, a visually rich book with the kind of intelligence that would have made Deleuze and Guattari break into wild applause…you get the ideal ! TI's love of Double magazine is well documented and every new issue is a cause for celebration! Here's to fashion fearlessly renewing itself.
Submitted by Wayne on Wed, 2014-10-08 15:31.
Well that Japanese way of putting words together…it sometimes summarizes the sentiment in lyrical ways everyday English won't. I loved working with the Spur team on the 100 page booklet that essentially archived the magazine's 25 year history of model coverage. From the early days of off duty 90's supermodels like Linda, Nadja and Naomi, it was funny to see how on-duty that ideal of off-duty was.
And then it was especially odd to see my 7 years of Spur It-Girl archives encapsulated in this one booklet. The magazine's editors assured me there is a generation of young Japanese women who grew up reading that column, which can only make you appreciative of the clarity of time . And its perspective, as well as future business potential. There they were, starting from Agyness Deyn at the height of her cultural impact, all the way to Issa Lish, now at the rise of her cultural impact. In between there were Freja and Irina, Coco and Hilary, Anja, Suvi, Catherine, Kasia, Lara, Meghan, Abbey, Toni, Malgosia, Karmen, Fei, Fei, Lindsay and Arizona. That those girls have forged lasting careers is not only a testament to brilliant management on the part of great agents, but also to the tenacity and resilience of those girls in keeping their value in a tough, tough industry.
Submitted by Wayne on Sat, 2014-10-04 18:54.
In its 25 years of existence , Spur , a magazine published by the ,massive Shueisha media empire in Japan has become a powerhouse in its home market. It has also been model mad that entire time, from its early covers Kate Moss (1995) and Carolyn Murphy (1996) to the most recent era of Daria (2006), Gemma, Agyness (2007) and Freja (2010),
Submitted by Wayne on Fri, 2014-09-05 19:17.
"Though this issue’s title appears in quotation marks, the intention is not to be ironic, or to suggest skepticism. Rather, the quotes allude to image quotation and reference, which are part and parcel of any creative act but are essential to the world of fashion. “In today’s professional climate . . . you’re only as good as your references,” guest editors Inez & Vinoodh note in their introduction to a portfolio of images by fashion’s most iconic and imitated photographers. Referencing is delicate, requiring thoughtful handling to avoid crossing the line into copying. Curator Charlotte Cotton remarks in her contribution that fashion photography’s often transparent use of references may be one reason why the genre is criticized from other corners. But in the end what matters is how a reference is used: when adequately transformed, you may sense a quotation but won’t recognize its source.