//From the presentation for tomorrow’s event//
Tomorrow I’ll be talking to interiors, homewares and textile designer Sue Timney about the fashion legacy of the King’s Road, the two-and-a-half mile thoroughfare in west London’s Chelsea where the late Mary Quant kicked off the boutique boom by opening her clothes shop Bazaar at 135a in 1955.
I’m looking forward to appearing at Pop Up, the subcultures festival being held in the Gloucestershire town of Stroud next month.
I’ll be comparing and contrasting the work of Barney Bubbles with that of his rivals Hipgnosis in the 70s and 80s with Mark Blake, author of the new book about the British music design studio and Pop Up organiser and writer Ben Wardle.
//Front Cover, Peter Gabriel, Charisma Records, 1977. Design: Hipgnosis//
//Robert, Batcave, London, 1983. Photo: Derek Ridgers//
//Fuck ceramics, Tyler Udall//
Curator and writer Faye Dowling’s latest venture is the intriguing Goth Shop, which enters the physical realm tonight as a pop-up gallery and retail outlet in London’s Spitalfields.
//Cover, Curious issue 19, 1971. Photography: Brian Ward. No reproduction without permission.This copy: Paul Gorman Archive//
//Opening spread The Queen Of Clapham. Photography: Edward Bell. No reproduction without permission//
//From The Cool Kilt vs The Hot Pant. Photographer not credited. No reproduction without permission//
//Opening spread I Was A TV. Photographer not credited. No reproduction without permission//
The British sex magazine Curious was well-named: for the duration of its near-decade long run from the late 1960s it was indeed a curiosity.
Read the rest of this entry »
//Opening spread of my interview with Peter York, Arena Homme + Winter/Spring 2020. Portrait: David Sims//
//From the Them fashion story. Photography: Julien Martinez Leclerc; fashion: Tom Guinness//
The jury is out on this autumn’s relaunch of the print edition of venerated British style magazine The Face; as I suggested here it’s going to take more than one splashy issue to assess whether the proposition has legs as we enter the 2020s (next May will mark the 40th anniversary of the founding of The Face by Nick Logan).
//Outtakes of the eight women featured in London Belles, published in the December 7 1973 issue of West One magazine. Photography © John Bishop. No reproduction without permission//
Although high fashion may be a thing of the past, what has replaced it is individuality and freedom to express. Women like these now make up their own minds about what they are and what they wear. Perhaps the rest of us should get the message and start being living fashion.
West One, December 7, 1973
I’m really honoured that veteran fashion photographer John Bishop has granted me this exclusive to show previously unpublished outtakes from the landmark London Belles feature he shot for the 1970s British magazine West One.
//Relation of Aesthetic Choice to Life Activity (Function) of the Subject, Billy Apple, 1961-2. From Tate Britain//
I’m indebted to Tate Liverpool curator Darren Pih for the connection between a photograph which appeared in ARK 33 – the edition of the Royal College Of Art magazine which was the subject of my last post – and a contemporaneous work by the artist Billy Apple.
//A Prayer For Madonna, The Face, September 1983. Photography: Kate Simon, text: James Truman. This was the superstar’s first substantial UK press appearance, five months ahead of her British live debut//
Of the many talented photographers who provided The Face with its visual verve, Kate Simon was uniquely positioned to chronicle the cutting edge cultural developments in New York in the 1980s.
Simon had spent much of the previous decade in London, photographing musicians and performers from Bob Marley and David Bowie to the Sex Pistols and The Clash (whose debut album features her striking portrait of Strummer, Jones and Simonon). Crucially, Simon’s work also appeared in the New Musical Express during The Face founder Nick Logan’s editorship of the music paper.
// Ego Geometria Sum V: Wigwam – 5 years, Helen Chadwick, 1982-83. Courtesy Richard Saltoun//
//Jo and Tail 1, Rose English, 1974. Courtesy Richard Saltoun//
I’m very much looking forward to Women Look At Women, the new exhibition which explores feminine identity through the work of 13 internationally renowned women artists opening at London’s Richard Saltoun tonight.
//© Carla Borel 2017//
The striking and intimate portraits are of men Borel is either close friends with, or met randomly. Straight, gay, trans, from various professions and backgrounds, the sitters in Homme Libre have an edge of some sort, be it in their stance and attitude, an air of mystery and romance, their strength and vulnerability, or they have reminded Borel of someone she once knew or saw in a film. The series explores ideas of masculinity seen from a female perspective, examining themes of intimacy and identity.
From the notes for Homme Libre
I am among the subjects of photographer Carla Borel’s exhibition Homme Libre, which opens next month at London’s A22 Gallery.
| Paul Gorman is a writer. This is his blog: art, books, conversation, cults, dancing, design, encounters, environments, events, film, galleries, groups, individuals, invitations, magazines, music, opinions, performance, photography, places, press, privacy, spaces, style, thoughts + views. |
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