Sunny Suits – recent work: Joujouka, Pigalle + portraiture

SERO, SEX SHOP SIGN, PARIS 2014
//SERO, Pigalle, Paris, 2014. Sunny Suits//

I’m intrigued by the photography of Sunny Suits, the American who, like so many illustrious others, flourishes in Paris, so am delighted to present this selection of recent work complete with her descriptions and background text.

Joujouka

VILLAGE BOYS DRESSED AS AISHA KANDISHA, JOUJOUKA 2013
//Village boys dressed as Aisha Kandisha, Joujouka, 2013. Sunny Suits//
MASTER MUSICIANS PIPERS PLAYING UNDER THE TENT, JOUJOUKA 2013
//Master Musician pipers playing under the tent, Joujouka, 2013. Sunny Suits//
MASTER MUSICIANS IN THE MADRAS BEFORE PLAYING, JOUJOUKA 2013
//Master Musicians in the Madras before playing, Joujouka, 2013. Sunny Suits//
MOHAMED HAMRI'S GRAVE, JOUJOUKA 2013
//Mohamed Hamri’s grave, Joujouka, 2013. Sunny Suits//
CAFE BOUJELOUD, JOUJOUKA 2013
//Cafe Boujeloud, Joujouka, 2013. Sunny Suits//

The Joujouka festival happens once a year in Morocco, a few hours from Tangier. It’s an incredible experience, to live on the farm with the villagers, to share their lives for a few days. Each night around midnight the musicians play and are excellent!

The folklore of the village is something special and I feel really lucky to have experienced it. Brian Jones and the Beats are to be thanked for sharing the discovery with us I’d say but it’s the music and also the painter Mohamed Hamri that I connect with most.

Champagne Bars and Sex Shops

SERO, SEX SHOP SIGN, PARIS 2014
//SERO, sex shop sign, Paris 2014. Sunny Suits//

My first memories of Paris include Pigalle. I used to live in the area and I have wanted to document the champagne bars and the women who work in them for years but before, my French wasn’t good enough and now the bars have almost disappeared. It’s also not exactly my world so I don’t think I have the right to intrude even though it’s only with respect that I see them.

Some of them have become sheesha bars, which I don’t mind because it’s part of the quartier, but red light districts are dying worlds. I see it as them as endangered species, something exotic and necessary. It’s a shame to see them disappear. There should be a smut preservation society.

The photograph ‘Sero’ is of the largest sex shop in Pigalle called Sexodrome. The lights had burned out leaving the sign to read Sero. Ironic for a sex shop sign.

Vince Aletti

VINCE ALETTI AT HOME #2, NYC 2013

VINCE ALETTI AT HOME, NYC 2013

Vince is a journalist and photo critic who was close to Peter Hujar. He knew David Wojnarowicz and many, if not all of the great artists from the Lower East Side that I admire so much. His voice is one of experience as that was his peer group. My friend the artist Paul P and Vince are friends and Paul took me to meet him one day at his place, which is like a shrine! He’s smart and generous and it was a lovely afternoon.

Ariel Kenig
ARIEL KENIG AT HOME, PARIS 2014
My friend Ariel is a writer here in France, novels and plays. He’s young and accomplished. He’s singing now and I think he’ll be just as successful. His groupies are already in line. He’s got something no doubt. His style is sort of what I call ‘Nu-Française’. He respects the lineage, of literature and now singing, and is a contemporary of it.

Lamine Badian Kouyaté

LAMINE BADIAN KOUYATE (XULY BET), LE COMPTOIR GENERAL, PARIS 2014
//Lamine Badian Kouyaté (Xuly Bët), Le Comptoir General, Paris, 2014. Sunny Suits//

Lamine is the designer of the French brand Xuly Bët. He’s half Malian half Senegalese and for me totally Parisien. Xuly Bët has its well earned place in fashion history. I don’t think of fashion without thinking of Xuly Bët. His proposition is a mix of street, couture and Africa and I love it. It’s the 25th anniversary of Xuly Bët this year and I’m really honoured to have been able to take his picture. You can see a great Xuly Bët show in the Robert Altman film Prêt-à-Porter.

Read more about the Master Musicians Of Joujouka here and the story of Aïsha Kandisha here.

For French-speakers there is an interview with Ariel Kenig about his book Le Miracle here.

DJHistory has a great interview with Vince Aletti here.

Here is the Xuly Bët site.

Visit Sunny Suits’ site here.

The Face, May 1992: Love Sees No Colour

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//Cover: Boy George with Mica + Jade, styling David Mignon, photography Thomas Krygier//

From time to time I’m going to be turning over information and images here as I go through the process of writing my book Legacy: The story of The Face.

Today I spent an enjoyable and enlightening few hours interviewing former editor Richard Benson; during our conversation it became clear that one of the turning points in the history of this significant magazine occurred with the spring 1992 publication of the issue headed Love Sees No Colour.

This coincided with the High Court judgment against the magazine in the unfortunate libel case brought by actor/singer Jason Donovan on the grounds that he had been branded a liar and a hypocrite as a result of the inference that he was gay.

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//The Face May 1992, pp6-7: Nick Logan’s editorial on the right//
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//PP58-59: Left, montage by Keith Piper/Right, Kate Moss by Enrique Badalescu, styling Camille Nickerson + Lucy Ewing//
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//PP38-39: Seen, Gilbert & George, 1989//

The theme of tolerance had been hatched by Benson’s predecessor Sheryl Garratt long before the dispute reached, in publisher Nick Logan’s words, “its unhappy conclusion”.

In terms of the magazine’s narrative, the issue affirmed The Face’s position as the lightning rod of the progress of popular culture in the inclusive 90s.

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//PP76-77: Left, George O’Dowd in his Absolutely Queer T-shirt – “Homophobes are fine. I just don’t want them near my children.”/Right, Rebel MC in Michiko Koshino T-shirt, Ezra Oban + Dominique Kelly in Katharine Hamnett Protect + Survive vests. Photos: Kate Garner + Thomas Krygier//
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//PP82-83: Left (top), Apachi Indian in One World shirt by Paul Smith, (below) Banderas in Love Sees No Colour shirts by Joe Casely-Hayford,/Right, Des’Ree in No To Negrophobia T-shirt by Trevor Norris. Photos: Kate Garner + Thomas Krygier//
P1150609
//PP84-85: Left, (top left) Paul Reid in Face Love outfit by Dirk Bikkembergs, (top right) Charlotte Champion + Gabriella Stonebridge in Jean Colonna and Martin Margiela, (below) Colin “Sweet C” McMillan in Love Sees No Colour T-shirt by Gio Goi and Turn Your Nose Up At Racism by Bella Freud/Right, Michael Clark in Nazi Shithead outfit by Leigh Bowery. Photos: Kate Garner + Thomas Krygier//

Designed by Boris Bencic and Lee Swillingham, the issue tipped the hat to those figures who had played a part in the 80s story – Boy George, Paul Smith, Leigh Bowery – and also hit the mark with the generation setting the pace for the new decade, whether it be Joe Bloggs, Kate Moss or Martin Margiela.

Produced in an all-hands-to-the-pump atmosphere, with Logan and Garratt in daily court attendance and the all-too-real prospect of forced closure as a result of the huge legal bills resulting from the Donovan case, The Face May 1992 is a cracking issue, one which stands up as a consummate example of journalistic excellence achieved under duress.

Legacy: The story of The Face is published by Thames & Hudson in autumn 2017.

Electric Colour Company: Blueberry Hill – London’s shortest-lived boutique – and the customised Ford Fairlane 500

R, C & D, 1971
//Electric Colour Company’s Roderic Stokes and David Smith with Carol Davey at Blueberry Hill, 91 King’s Road, London, 1970//

Here are a couple of images relating to late 60s/early 70s British design studio Electric Colour Company; I’m writing a magazine feature about their exceptional body of work which ran from signage, custom-built furniture and shop designs (notably Mr Freedom, Paradise Garage and City Lights Studio) to lighting modules, display objects, interior decoration, murals, custom cars and fashion accessories.

In November 1970 the King’s Road boutique Blueberry Hill was launched with a comprehensive fit-out – reported at a substantial-for-those-days £3,000 – by the ECC team of Andrew Greaves, Jeffrey Pine, David Smith and Roderic Stokes.

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//By the time this coverage appeared in the February 1971 issue of Design magazine, Blueberry Hill had been closed for several weeks//

Despite the extraordinary nature of the shop design – which included cloud-form light fittings in neon strip  and a timber counter with spray-on brickwork finish resembling a well-head – Blueberry Hill closed after just six weeks when the landlords opted to replace it with a more bankable betting shop.

I & D & Fairlane, 1970
//Irene Smith and Dinah Adams with the ECC-customised Ford Fairlane 500, 1970//
Full-Page  ad.  'TIME OUT' 1970
//Advert, Time Out, 1970//

The other photograph shows ECC fellow travellers Dinah Adams – who designed clothes for Mr Freedom, Paradise Garage and Granny Takes A Trip – and Irene Smith with the customised Ford Fairlane which also appeared in the East End company’s advertising.

I’ll give the nod when my piece on Electric Colour Company is nearing publication.

Visit the ECC site here.

Thanks to Andrew Greaves for the photographs.

Q: What does the Sun Ra perfume Prophetika smell like? A: The Future!

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//Prophetika: Based on an ancient formula with hints of Cairo, Chicago…and Casseopia//

One day I’ll write a post justifying my view that Kicks #6 is the hands-down greatest music magazine of all time, but for now it’s worth recording that the folks behind Kicks  – namely Miriam Linna and Billy Miller – continue to, er, kick out the wildest music and related stuff via their Norton Records and Kicks Books imprints.

To coincide with the publication of the first volume of the trilogy Prophetika – which gathers together a trove of unpublished poetry and prose by the intergalactic visionary Sun Ra – Kicks Books (“The publisher, the parfumier”) has announced a fragrance of the same name which draws on an ancient formula “invoking a mirage of memories and mysteries and inciting a call to action”. Apparently there are hints of Cairo, Chicago…and Casseopia.

The perfume comes in a deluxe 0.5 oz Italian glass bottle in a presentation box and is just $13 – buy your’s here.

FB friend Joss Hutton nailed it with his response to the question as to what Prophetika smells like: “The Future”. Of course.

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There’s a shindig to launch the book and niff at NYC’s St Mark’s Church next Friday. Details here.

Visit Kicks Books here and Norton Records here.

Sun Ra in performance with his Arkestra and in interview in Helsinki 1971:

Kate Moross: Make Your Own Luck

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The industrious British designer/illustrator Kate Moross is celebrating the publication of her book Make Your Own Luck with a London exhibition surveying the impressive body of work she has assembled to date.

I recommend the book highly, and not just because Moross gracefully thanked me for what little input I may have had. Also, as a fellow dog-lover, it’s great to see that Moross’s beloved Shiba Inus Tako and Ebi are given prominence on the flyleaf.

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Continue reading Kate Moross: Make Your Own Luck

Unbelievable rarity: Undocumented Let It Rock clothing featured on 1972 budget LP + previously unpublished views of stock inside 430 King’s Road

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//Front cover, Rock Archive, Various Artists, Windmill Records, 1972//

It is relatively common knowledge among those interested in the careers of Malcolm McLaren and Vivienne Westwood and their series of extraordinary shops that they supplied clothes to the 1973 album Golden Hour Of Rock & Roll; Let It Rock at 430 King’s Road was clearly credited on the back of the record sleeve.

Let It Rock-Golden Hour Of Rock & Roll
//Front cover, The Golden Hour Of Rock N Roll, Various Artists, Pye/Golden Hour, 1973//
lir-rockarchiveflipped
//The photograph on the Rock Archive cover was flipped to better accommodate the text. Here it is as originally shot//

But I have fresh information which helps towards a greater understanding of McLaren’s project to investigate the detritus of popular culture’s recent past. During a bout of research recently I came across this earlier and hitherto undocumented use of Let It Rock clothing in a music context: the front cover of Rock Archive, a budget LP compilation released by the specialist British independent label Windmill in 1972.

And I am detailing the clothes on the cover with images taken inside Let It Rock which have never been previously published.

lir-redshirts
//Starke shirts with 50s sports jacket on Let It Rock wall, January 1972. Photograph: David Parkinson//
lir-starke
//Starke label detail//

Each garment worn by the model – whose attempts at rocking out resulted in his giving every appearance of suffering considerable pain – comes from the deadstock of British brands assiduously assembled by Malcolm McLaren and his art-school friend Patrick Casey for the opening of the world’s first avowedly post-modern retail outlet in November 1971.

From the ground up, the Rock Archive cover star wore black suede Denson’s Fine Poynts, ice-blue Lybro jeans with 5in cuffs, a Frederick Starke flyaway collar shirt and a studded and decorated Lewis Leathers early 60s Lightning jacket (which featured a highly collectable 6-5 Special patch).

Continue reading Unbelievable rarity: Undocumented Let It Rock clothing featured on 1972 budget LP + previously unpublished views of stock inside 430 King’s Road

Last days of Derek Boshier’s Change at Tanya Leighton Berlin

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//Derek Boshier, Reel, 1973. Still from 16mm film transferred to video, colour, sound, 6:00 minutes//
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//Best Foot Forward, 2014. Still from HD video, color, sound, 5:00 minutes//

Today and tomorrow are the closing days of Change, the Derek Boshier exhibition at Berlin’s Tanya Leighton Gallery.

On art-agenda, Ana Teixeira Pinto writes: “Providing a comprehensive view of his unfairly under-appreciated oeuvre, this extremely well-curated exhibition pairs the artist’s historical films with more recent work such as Best Foot Forward and Did You See… That? (both 2014).”

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Continue reading Last days of Derek Boshier’s Change at Tanya Leighton Berlin

One of the unpindownables of the counter culture: Jack Henry Moore 1940-2014

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//Jack Henry Moore (right) outside the Melkweg, Amsterdam with fellow film-makers Kit Galloway and Dave Jones, early 70s. Photo: The Generalist/The Videoheads//

Jack Henry Moore – who has died aged 73 – was one of the unpindownables of the counterculture in the 60s and 70s.

Known principally as a pioneering video film-maker and sound recordist (the archive he leaves behind is estimated to contain more than 70,000 hours of tape compiled over five decades), Moore was central to the establishment of many of the foundation stones of the underground in London and other European cities.

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//With Lennon and Ono 1968. Photo: The Generalist/The Videoheads//

Moore joined fellow ex-pat American Jim Haynes in his theatrical experiments in Edinburgh in the mid-60s, where they staged productions by the likes of Lindsay Kemp. As in his native Oklahoma, Moore’s openness about his homosexuality necessitated a geographical shift, this time south to London.

Continue reading One of the unpindownables of the counter culture: Jack Henry Moore 1940-2014

Viennese Season: Feminism – VALIE EXPORT and Friedl Kubelka at Richard Saltoun

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//Genitalpanik (Genital Panic), 1969. VALIE EXPORT. Poster, silk-screen print. 69.5 x 49.5cm. Copyright the artist. Courtesy Richard Saltoun Gallery//
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//Untitled (Pin-Up), 1973. Friedl Kubelka. Black and white photograph mounted on cardboard, 16.8 x 11.6cm//

This week sees the opening of the second of London gallery Richard Saltoun’s two-part exhibition of Viennese art: Feminism presents the work of VALIE EXPORT and Friedl Kubelka.

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//Smart/Export II, 1968/1970. VALIE EXPORT. Vintage gelatin silver print, 60.7 x 40.5 cm. Edition of 5 plus 2 artist’s proofs. Copyright the artist. Courtesy Richard Saltoun Gallery//

Continue reading Viennese Season: Feminism – VALIE EXPORT and Friedl Kubelka at Richard Saltoun