FASHION

FARIS BADWAN OF THE HORRORS TALKS SUBCULTURE FOR FOXES MAGAZINE

 

PHOTOGRAPHY  Wanda Martin
FASHION  Kamran Rajput
HAIR  Emma Tierney     MAKE-UP  Verity Cumming


     Faris Badwan, frontman of UK band The Horrors, fronts one of the covers of our latest "Subculture Issue" currently available here at our online store, or on newsstands worldwide. In the issue's feature we decided to ask Badwan to pen an article discussing how subcultures influenced him, the band and his style, an excerpt of which you can read below.

 
"The idea of subculture is particularly enticing to a kid waiting for something to click. It implies freedom of choice, the door to an alternative path. The possibility of rejecting what is immediately available to you rather than just accepting it and ignoring the nagging sense of discontent. Subcultures are created through a mixture of accident and design - by a group of people pursuing their interests or looking for a support system.
 
I remember going to school aged 8, wearing a pair of destroyed leather gardening gloves and a bandana, looking ridiculous, like some kind of impoverished Karate Kid on the set of Mad Max, but feeling like Ralph Macchio himself. I was obsessed with gangs such as the ones depicted in The Warriors or The Outsiders, even West Side Story - anything with ripped leather and denim. I devoured David Wilkerson’s autobiographical book, 'The Cross and the Switchblade', about an evangelist who converted New York street gangs to Christianity. I was willing to endure 200 pages of religious propaganda for the promise of a few paragraphs of knife fights.
 
As a child trying to establish your own identity, you grasp at any means of expressing yourself, whether that involves raiding the garden shed or finding God. 
 
The idea of bands as gangs hadn’t entered into my head at this point - I discovered my parents’ 'Sounds of the 60s & 70s' cassette tapes and was making compilations, but didn’t know what any of the bands looked like. I loved the Ronettes and the Shangri-Las - and the way they clashed biker imagery with teenage romanticism.
 
My first exposure to distortion in a song was the two-chord guitar hook from 'You Really Got Me' by The Kinks, which even now wouldn’t sound out of place on a Royal Trux record. Reading in the cassette insert about Dave Davies getting the guitar sound by slashing his amp speaker cemented the track’s status as my favourite for several years. 
 
In the same liner notes I saw the Kinks for the first time: all in black with white shirts, matching haircuts. 
 
Aged 16 I remember Tom [Furse] from the Horrors saying to me, 'When we move to London we’re going to start a garage band, and we’re all going to wear black.'"
 
 
 
 

SAINT LAURENT DEBUTS NEW CAMPAIGN FEATURING LENNON GALLAGHER

 

     Saint Laurent has just released a new MFW18 teaser campaign featuring Lennon Gallagher accompanied by The Velvet Underground's "Venus In Fur". Anthony Vaccarello's designs capture the spirit of rock n roll meeting fashion in a way that only the Saint Laurent fashion house can. Both the video and the accompanying images were shot by David Sims in the familiar bright, white studio which has recently seen Vincent Gallo and Zoe Kravitz among others in its place. Video and imagery below:

 
 
 

Another MFW18 campaign video was released earlier in the week also featuring Lennon, among other boys including Noé Martin, Lenny Diaw, Eduards Kraule & Erin Mommsen. Vaccarello tapped into the project as Art Director with Director Nathalie Canguilhem. See the video below:

 
 

YSL.com

ICONIC: AN EXPRESSION OF PUNK IN A MODERN AGE

 

DIRECTOR  Tommaso Ottomano     TALENT  Lorenzo Sutto
GROOMING  Erica Vitulano     DRAWINGS  Aurora Manni


     Model Lorenzo Sutto and director Tommaso Ottomano came together for a special project in Italy that strayed away from the norm of the "average" fashion film. Iconic is more of an expression of modern day punk rock where the brand clothing didn't matter, only the passion behind the creative endeavor and the music which drives the short film. "We had no idea what this would look like but we didn't care, we just went for it." Watch the full video below as well as their explanation for the project.

 
 

PRETTY GREEN UNVEIL NEW BLACK LABEL COLLECTION

WORDS  Conor Davage

 

     For Pretty Green’s latest Black Label collection, they have locked into the mid-60s as a catalyst for both social change and the birth of many staple menswear trends. More specifically the Peacock Revolution of that time, which has been a recurrent influence in menswear ever since. It is for this reason that this period holds such a prominent place in the items contained within the Black Label.

 

     This is most recognisable not only by the chosen styling of the lookbook, but also by the model's Mick Jagger bowl cut while posing on elements like carpets and arm rests which look well acquainted with vintage markets or aged living rooms.

 

     The clothing itself stays true to the central focus of the collection. Marked by floral and stripe patterns, materials like leather and suede and accompanied by a wash of pastel pinks and creams to cement the era of reference. Indeed, the collection is grounded in a nonchalance, achieved through neat, clean lines, and a ‘wear it how you feel it’ attitude.

 

     By way of their tribute to the Peacocks as cultural icons, the Black Label collection by Pretty Green has produced items which reflects their many forms. For a casual Peacock look, they have elevated the traditional track top with plush velour and overarm lace trim embellishments. For this collection they also introduced a Prince of Wales check mac, with slim cut, William Halstead fabric and concealed front bottoms.

 

      In sum, Pretty Green’s Black Label is rooted in modern menswear, built on a legacy of revolution, freedom and experimentation.

 
 

DIOR HOMME AW18

 

WORDS  Conor Davage


     What happens when you fuse neatly tailored formal wear with the edgy, rock ‘n’ roll of biker culture? This is what occurred at the Dior Homme AW18 show in Paris, and the answer is a beautifully curated collection by the design house which boasts ‘Le New Look 1947’.

 

     The expertly crafted tailoring created striking silhouettes of the models who donned the pieces, with cinched waists and emphasised shoulders. These features were then accentuated further with belts worn over suit jackets and overcoats. For the most part, suits were styled with crisp white shirts, polos and striped knitwear. These represented subtle nods to previous seasons, only this time the ideas were fully formed and evolved.

 

     This can be seen in the unlikely combination of camel and navy double breasted jackets, bomber-style coats, and pin stripes with buzz-cut motiff-styled hair, repeated tribal patterns and flame graphics commonly associated with motorcycle gangs on Route 66.

 

     Other looks were styled like 90s teen skaters, which saw the same flame graphic emblazoned onto tees, worn over shirts and paired with elliptical sunglasses, baggy denim jeans and sneakers. The only autumn/winter add-on being a neckerchief and various sizeable off-the-shoulder bags to seal the ever-recognizable Dior Homme aesthetic.