British design media outlet Creative Review has reported on the publication of A Box Of Bubbles, the forthcoming limited edition boxed and enhanced edition of the new monograph The Wild World Of Barney Bubbles.
Working on my forthcoming book The Rise & Fall Of The Music Press has brought home to me the brilliance of publications and journalists who have been marginalised in the story of the media sector inaugurated by the launch of The Melody Maker (as it was then known) in 1926.
A Box Of Bubbles is the special edition of the forthcoming book The Wild World of Barney Bubbles.
My next book, The Wild World of Barney Bubbles, is published around the world this summer by Thames & Hudson.
This is the enhanced and revised third edition of my monograph of the late graphic artist, who died in 1983 and would have been 80 this year.
//Fax of treatment sent by Malcolm McLaren to Neal Purvis and Robert Wade on January 9, 1991//
These faded pages constitute a film pitch Malcolm McLaren sent by fax to screenwriters Neal Purvis and Robert Wade way back in 1991.
//The first page of the fax shows that this treatment was completed a couple of weeks before it was sent, on December 20, 1990//
//From my transcription of the now-very faded fax//
Purvis and Wade are responsible for many film successes including the astounding run of screenplays for the seven James Bond movies from 1999’s The World Is Not Enough to the recently released No Time To Die. I’ve known them for a while and Neal has mentioned their contact with McLaren during preparations for their first feature Let Him Have It, so made sure it was covered in the hardback edition of The Life & Times of Malcolm McLaren.
//Malcolm McLaren between Patti Smith and David Johansen with Cyrinda Foxe and Lenny Kaye, Sheep Meadow, Central Park, May 11, 1975. Photo: Danny Fields//
//Close up: Malcolm McLaren refreshes himself behind Smith and Johansen//
46 years after music manager Danny Fields took the photograph of a group of New York’s 70s demi-monde at the top of this post I’ve spotted the previously unidentified person behind them: the subject of my latest book, Malcolm McLaren (who appears to be chugging a half-bottle of Smirnoff).
//Left: ‘Waitress dress’ designed by Diana Crawshaw for Mr Freedom 1971. Right: Karen Elson models Moschino dress in the Italian luxury brand’s campaign for its SS22 resort collection//
Even by the cynical standards of today’s fashion industry, the lifting – down to the closest detail – of a particular early 1970s design for British pop art store Mr Freedom by Italian luxury brand Moschino is breathtaking.
‘UNBELIEVABLE’ was the take of a leading fashion journalist while an internationally renowned fashion designer told me they thought it was ‘Outrageous!’
‘I’m sickened,’ says Diana Crawshaw, who came up with the original of this and many other designs for Mr Freedom’s owners Trevor Myles and Tommy Roberts between 1970 and 1972. ‘It’s terrible that they’ve simply been able to take things I spent a lot of time and effort on realising.’
The new version of Crawshaw’s waitress dress is the centrepiece of the Moschino collection, which is the brainchild of creative director Jeremy Scott. As well as direct quotes of these individual pieces, Moschino’s campaign appears as a tribute to a particular phase of Mr Freedom’s brief life, when its second set of premises at 20 Kensington Church Street included the cartoonish restaurant Mr Feed’Em.
//Mr Feed’Em waitress in hamburger repeat print dress in the restaurant 1971. Photography: Tim Street Porter/Elizabeth Whiting & Associates//
//Left: Mr Freedom designer Jim O’Connor. Photography: Tim Street Porter/Elizabeth Whiting & Associates//
//Mr Feed’Em interior. Photography: Tim Street Porter/Elizabeth Whiting & Associates//
And so the new Moschino campaign is replete with repeat prints and references to fried eggs, dripping hamburgers, hot dogs and ice-cream, all Mr Freedom and Mr Feed’Em motifs, as you can see in the film Scott has released to coincide with the collection drop:
And Crawshaw isn’t alone. The use of colour contrasts in the Moschino garments and on accessories such as bags imitates those used by another Mr Freedom designer, Jim O’Connor, as you can see here from this jumpsuit design in the Victoria & Albert Museum’s collection:
//Jim O’Connor for Mr Freedom jumpsuit collar and lapel detail. Photo: Paul Gorman Collection//
//Biker jacket handbag Moschino SS22//
That there is a paucity of new ideas in mainstream fashion is not news though I can’t help wondering about the role of those operators of vintage collections who are regularly raided by fashion designers in return for payments and thus encourage this behaviour.
Diana Crawshaw started her career at the King’s Road branch of I Was Lord Kitchener’s Valet before moving on to make important contributions not just to Mr Freedom but also the legendary outlet Paradise Garage at 430 King’s Road.
//Frederiques Cifuentes photographs Diana Crawshaw outside 430 King’s Road for the King’s Road Fashion & Music Trail, 2012.//
A charming and constantly creative person, Diana was a Royal College a graduate and is now in her 70s. I interviewed her for the King’s Road music and fashion trail I created for Kensington & Chelsea Council in 2012 and when last I bumped into her (inevitably in Worlds End Books) she snapped a photograph of me and sent a flattering portrait she drew from it.
Diana continues as an inveterate Chelsea-ite as a palmist for the enduring outlet Wilde Ones (though at the moment is giving phone consultations). You can book a reading with her through the Wilde Ones website.
//The two maps are housed in handsome folders//
//The guide was designed by Ricardo Santos and includes photography of the band, quotes and a card for my Malcolm McLaren biography//
My new guide out with Herb Lester Associates is out now.
A celebration of the London lives of the Sex Pistols and their charismatic – some might say notorious – manager Malcolm McLaren, it comprises two fold-out maps with 100-plus addresses from birthplaces, schools, colleges, art schools, pubs, clubs, venues and boutiques to such diverse places as Buckingham Palace (where the Pistols signed to A&M Records), the Soho gay club Il Duce (frequented by McLaren after leaving art school in the early 70s) and the Shepherds Bush remand home where the teenage Steve Jones resided before being pulled up before various beaks on assorted burglary charges.
//There are nearly 60 entries charting the lives of the Pistols in London//
//The Pistols map shows how Punk Rock was at its dark heart a London thing//
The Pistols maps covers the group’s 29-month existence and the lives of the five members as they relate to the British capital, while McLaren’s shows how this fourth generation Scottish/Jewish provocateur used the city as a weapon of sex, style and subversion.
//Born in Stoke Newington, McLaren roamed the capital, from Lewisham and Clapham to Chelsea and Notting Hill to Fitzrovia and Oxford Street to Whitechapel and Rotherhithe//
//No coincidence that some of the major projects of McLaren’s life – a psychogeography of Oxford Street, the shop at 430 King’s Road and his campaign to become Mayor of London – were firmly rooted in the city//
SITUATION VACANT: Sex Pistols and Malcolm McLaren in London is available from Herb Lester Associates here.
//Outside my local “The Roebuck” in London SE1 yesterday//
//Barney Bubbles’ 1966 designs for Woodpecker and Strongbow ciders feature on the bus being used in filming//
This is freaky. Our local has been transformed into the King’s Road pub The Roebuck for the filming of Danny Boyle’s forthcoming FX series Pistol, based on guitarist Steve Jones’s memoir Lonely Boy.
The thing is I knew the Roebuck very well; it is in fact the place where I first met Malcolm McLaren, at the age of 15 in 1975. By happenstance I was drinking in the pub with an older brother the night McLaren recruited John Lydon to the Sex Pistols.
//The Roebuck in the late 70s. Photo by Barry Beattie/ANL/Shutterstock (5823647a)//
At The Roebuck I came across such individuals as the gangster John Bindon and his well-born paramour Vicki Hodge and the male model David “Piggy” Worth. One night we spotted the infamous art dealer Robert “Groovy Bob” Fraser with some ne’er-do-wells. It was that sort of place.
//The Roebuck was a couple of minutes’ walk east of 430 King’s Road where the Mini driven by Vivienne Westwood, Steve Jones and others could often be seen. This recreation even includes balls of mohair wall in the back//
I returned there over the following years, particularly after I moved to neighbouring Kensington in 1977 – it was a 15-minute walk away. By that time Punk was shifting overground and the upstairs snooker room was the scene of much nefarious activity.
A wild twist is that pioneering 60s designs by the late graphic genius Barney Bubbles have been recreated as period adverts on a bus which is being used for filming.
The conjunction of two of the subjects of my books with a fondly remembered venue 20 yards from where I live is kind of wild.
I am the latest subject in the One Great Reader series published by Oakland CA’s Book/Shop.
/Wes Del Val’s introduction//
In the interview by Wes Del Val I talk about the importance of books, particularly second-hand books, in my life.
//I get to nominate the five books I’d keep in stock permanently in my fantasy bookshop//
Above is a selection of reading material mentioned in the chat plucked from the shelves, ranging from Myths & Legends given to me by an older sister when I was eight in the 1960s to Tabitha Lasley’s incredible Sea State published this year.
Read my One Great Reader chat with Wes here.
| 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. |
© 2009 Paul Gorman is…. All Rights Reserved.
This blog is powered by Wordpress and Magatheme by Bryan Helmig.
Recent Comments