Dec 18, 2017

Guinevere Has Blue Eyes

Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli
Guinevere van Seenus for Jil Sander's Spring/Summer 1996 catalogue and ad campaigns. Bleached eyebrows, minimal makeup, quintessentially 90's fashion photography. Creative team: Craig Mcdean, Eugene Souleiman, Pat McGrath, Marc Ascoli


Jil Sander
Spring / Summer 1996 catalogue and ad campaigns.


PHOTOGRAPHER: Craig McDean
MODEL: Guinevere van Seenus
HAIR: Eugene Souleiman
MAKEUP: Pat McGrath 
LAYOUT / ART DIRECTION: Marc Ascoli

Simple, personal, different.
I love this photo shoot. Before I went and looked for information about the creative process of this project, I knew it was special. These pictures have an everlasting intrigue. The work between photographer and subject escalates these photos into another dimension - I can hear/feel the conversation between the creative team when I look at this campaign.

Photographer Nick Knight has produced an interesting series of films for SHOWstudio called Subjective, which highlight model's perspectives on iconic photo shoots. I'm so thankful for this interview he did with van Seenus. In it, Guinevere talks about what made this photo shoot so unique and how the industry has changed since that time. She provides fascinating insights into Craig McDean's methods, artistic collaboration and shares her personal experience of inclusion as a member of the creative team on this project. I am grateful for productions like these that talk about creative processes and mention the people who have contributed to a project.




Nick Knight has also produced a series called Transformative, similarly highlighting the work of stylists, make-up artists and hairdressers. In this video, he interviews hairdresser Eugene Souleiman about his work on this shoot:





Makeup artist Pat Mcgrath's work here is so fresh and interesting. Taking down Guinevere's eyebrows a bit with bleach tips the scales towards Botticelli. Her treatment of the face and skin is not immediately evident, yet, her traces of shimmer, hollows and glossy creases show you that something special has happened.

Marc Ascoli's project vision and layouts are totally compelling. I wish I could find photos of the entire catalogue. He has arranged and cropped everything in such an interesting way - adding a stuck-and-torn-apart-page effect to the outer bottom corners of each picture along with an occasional collage of images. You can catch a flip-through of the catalogue in the video posted below (an excerpt from Souleiman's interview starting at the 5 minute mark):






Published in 2013 by Rizzoli, New York. (via)

Lastly, an excerpt from the book Amber, Guinevere, and Kate Photographed by Craig McDean: 1993-2005 in which Guinevere van Seenus is interviewed by Glenn O'Brien on March 1st, 2013:


GO: Tell  me about your first meeting with Craig?

GvS: I remember my first job with him—a Japanese or Korean editorial—and it went really well. I remember really understanding what he was doing. It was different for me because I hadn't worked with people yet that were doing something different and unique.


... 

GO: Was there anything about the way the way that Craig worked or in his manner that seemed different to you? 

GvS: I'm not sure I'll be able to clearly explain it, but for me he brings his own quirks and individuality into it. It helps you explore or be comfortable with these parts of yourself that most people think are a little awkward or weird. They become beautiful in his pictures. He carries that through with his body—he shows you positions or he does things to help it make a lot of sense. You jump right in with it, and then you work together to bring it further, to develop it from there. Most people, they wouldn't ask you for those types of awkward in-between moments or expressions. And if you gave them to them, they wouldn't really understand what you were doing. 

GO: And when you saw the pictures what did you think of them?

GvS: I loved them. I didn't really get to see the pictures of that first job we did. I was probably too shy at the time to ask. But later with Jil Sander, it was very much like we were there together for four days. I think we totaled about fifteen hours of overtime. We would work until two in the morning. It became like a fun family thing and we were just exploring, so I really got to see everything. And the more he liked something, like a weird expression I might have done as a child, the more I just pushed and explored more.

GO: You said that Craig would act something out, or strike a position. Is that unusual?

GvS: Yes. Some people do it slightly. Some people just ask verbally for something and then they let you have your own interpretation. But the way Craig starts it, you really get an interpretation of the energy he wants behind it. Some people don't really even know how to ask for what they want. Craig makes it really clear. We would explore for hours and hours every day. I don't think I've ever had another experience quite like that.

...


GO: Did it seem more collaborative in nature than the usual modeling job?

GvS: Very, very much so.

GO: So when you look at those pictures do you think: I came up with that?

GvS: Sometimes you come up with something from feedback someone gives, but it's also the entire energy in the room. How comfortable do I feel around these people? How vulnerable do I feel like being? Do I trust them with the parts of myself that I don't necessarily think are beautiful? Having Eugene Souleiman, Pat McGrath and Marc Ascolithat was the team you could just do anything with.

Dec 11, 2017

Fantasy Walking

"In the Haze of the Winter Sun". Photograph by Jerdess. February 12, 2016. (via)
"Когда туманы глубоки" (translation: "When the fogs are deep").
Vladimir Region in Russia, village of Krutovo. Photograph by Roman Lunin. August, 2015. (via)
"Alpine Forest". Photograph by Jerdess. December 6, 2017. (via)

Imagine being the sort of photographer who rambles and treks to capture your shots. Early mornings, wet feet, cold ears... You would have to be so patient and prepared, and it takes more than just being there. It takes more than having a nice camera too. These photos are full of curiosity, imagination and skill. Majick!

Jerdess describes themselves as "An amateur landscape photographer, mainly located in the Eifel".
There is little I can tell about the photographer Roman Lunin from his Russian photo-sharing feed.

Dec 8, 2017

Pairs | Part 1

From the National Geographic photo-book Rarely Seen (2015). Photographed by Joel Sartore. Behind the scenes, taxidermy, museaum exhibit, dusting collection, a rare glimpse of museum exhibit maintaince
Restoring a big statue, green lift
TOP: From the National Geographic photo-book Rarely Seen (2015). Photographed by Joel Sartore. (via)
BOTTOM: Details unknown. (via)


Cat sitting on Constantine's Foot at the Palatine Museum, Rome.   From the "Gatti di Roma" photo series, photographed by Giancarlo Gasponi, street cat in an odd place, aincent sculpture, cat does what it wants
The Foot of the Leshan Giant Buddha, Sichuan, China, 1980." Photographed by Bruno Barbey. Man sitting on the enormous foot of a giant buddah statue, having a moment of reflection, photographed from overhead

TOP: Cat sitting on Constantine's Foot at the Palatine Museum, Rome
From the "Gatti di Roma" photo series, photographed by Giancarlo Gasponi. (via)
BOTTOM: "The Foot of the Leshan Giant Buddha, Sichuan, China, 1980." Photographed by Bruno Barbey. (via)



Four doberman retrievers guarding a baby in a pram, baby carriage
Three doberman retrievers sitting next to a motorcycle. White pomeranian dog sitting on motorcycle. Dog gang.
TOP: Details unknown. (via)
BOTTOM: Details unknown. (via)


Photograph by Ernst Haas. Woman walking her dog past a massive mural on the side of a building, a beautiful fantasy scene in the midst of average life. 1950's, Europe.
'Untitled' photographed by Steven Brooks. 7-11 at twilight. Dusk, gloaming, vacant parking lot, glowing shop lights, outdoor redbox, midwestern America. Mural of a mountain pond on the side of building.

TOP: Photograph by Ernst Haas (via)
BOTTOM: 'Untitled' photographed by Steven Brooks (via)


Nov 28, 2017

Luncheon on the Grass

"Vondelpark, Amsterdam the Netherlands" by Rineke Dijkstra. Chromogenic print, June 10, 2005, youth, teenagers,
"Vondelpark, Amsterdam the Netherlands" by Rineke Dijkstra. Chromogenic print, June 10, 2005. (via)
"Le déjeuner sur l'herbe", or, "The Luncheon on the Grass" by Edouard Manet. Oil on canvas, 1863
"Le déjeuner sur l'herbe", or, "The Luncheon on the Grass" by Edouard Manet. Oil on canvas, 1863. (via)

The portraiture and photography of Rineke Dijkstra is tops. The lighting, subjects and setting of this photo are pure magic.

When I first saw this picture I was struck with its similarity to Manet's "Luncheon on the Grass" (in composition, not Manet's cheeky and groundbreaking social commentary). The clothing and open frankness of the subjects give me aches of nostalgia. I am so glad that this photo exists.

When I went scouting for more information about this picture, I found some really cool insights into Dijkstra's lighting, method and composition from the photographer herself! The following is an excerpt from her interview with Art Practical in which she discusses the photo below (another in her series of Vondelpark group portraits):


"Vondelpark, Amsterdam, the Netherlands" by Rineke Dijkstra. Chromogenic print, June 19, 2005 (via)


Interviewer: Patricia Maloney with Art Practical, March 29, 2012 (entire interview here)

PM: It’s amazing how much light becomes a character or an attribute of your characters.
RD: I’m much more precise now. In some of the beach portraits, there’s a flash. And here, I try to keep the natural light and just use a fill-in. So I’m pretty precise in trying to get that [atmosphere]. You don’t really feel the flash so much here, do you?
PM: No, you don’t. In the beach portraits, the light is so stark, almost like a barricade. In encountering the figure, you have to also confront the light. Whereas here, it’s more …
RD: Here, it’s much more like [the subject becomes] one with the landscape.
PM: This is where painting comes to mind, especially Manet’s Le déjeuner sur l’herbe.
RD: Yes, she’s sitting the same way. It’s a total coincidence.
PM: So you didn’t construct this composition?
RD: No. And when I took this picture, I was quite relaxed because it was the first day that I decided to take some pictures. It was a warm day, on a Friday afternoon, and I was walking around with my camera and an assistant. It was really crowded in the park and these kids were just sitting there. I thought, “Let’s see if we can do something,” and it was funny because they were not very interested.
PM: Do you ever find it difficult to approach subjects? Do you ever get nervous about it, or are you just used to it by now?
RD: I’m used to it, and I feel that people also like it. They’re flattered. For instance, for [Vondelpark, Amsterdam, the Netherlands, June 19, 2005], there was this family in the park: this girl and two of her sisters, who were much younger than her, and their mother. The girl was really surprised that I was interested in her. They thought I wanted to photograph the baby. What I like so much is that because her dress is red—can you imagine if this dress had been black or green?—all the attention goes to her, and he is sort of admiring her. If it was the opposite, if she was wearing black and he red, that would have been a totally different picture.
PM: It’s so different from the schoolboy. Even though she’s framed by the foliage, she’s just completely open, and she owns it.
RD: Yeah, it is her picture.

Nov 22, 2017

Dark Waves

Jade Parfitt in “Légendes”. Photographed by Éric Traoré for Vogue Paris, October 1999. Dark 90's photography, field of white flowers, wiccian, magic, witch
Jade Parfitt in “Légendes”. Photographed by Éric Traoré for Vogue Paris, October 1999. (via)
Kirsten Owen in 'Suburban Outfitters'. Photographed by Mario Sorrenti for W, July 1998. Darkwave, dark, gothic, 90's photogtaphy, pool, blonde hair, sci-fi bangs, wiccian, witch
Kirsten Owen in 'Suburban Outfitters'. Photographed by Mario Sorrenti for W, July 1998.
Fat Joe, Bow Wow, Eve, Busta Rhymes, Redman and Method Man. Brownstone, portrait, dark, classical painting, hip-hop ensemble, 90's
Fat Joe, Bow Wow, Eve, Busta Rhymes, Redman and Method Man. Photographer unknown. (via)
Milla Jovovich for Strenesse, F/W 1997/1998. Photographed by Mario Sorrenti. muted, dark, sensual, 90's
Milla Jovovich for Strenesse, F/W 1997/1998. Photographed by Mario Sorrenti. (via)
Beverly Peele. Photographer and date unknown. Possibly 1992. Desert, desolate, Gianni Versace dress, black dress, supernatural, stark, Valentino
Beverly Peele. Photographer and date unknown. Possibly 1992. (via)
Lia Pavlova photographed by Sofia Sanchez & Mauro Mongiello for Numéro China, October 2015. editorial, sci-fi bangs, cybergoth, futuristic dark-wave, white facepaint, dark atmosphere
Lia Pavlova photographed by Sofia Sanchez & Mauro Mongiello for Numéro China, October 2015. (via)

The lighting in these photos is unreal. I am fascinated with them. Mario Sorrenti is the king of Darkwave photography. Atmos like these present ideas, clothing and people in such a clear and thrilling way.

Nov 7, 2017

The Halls of Böijer


Shuzo Matsuoka in his video "Don't you give up!" あきらめかけているあなた (via)


Welcome to the Boij blog! This is my first official post under the pseudonym Boijer. Thanks for following me over here and if you're joining me for the first time, welcome.

Boijer is an extension of my explorations in design using fashion as a medium to tell stories. I want to outfit people with well-made garments created from responsibly sourced textiles and materials.

My mission is to make the patterns for Boijer pieces available to download and print on a pay-what-you-wish scale. My goal is to give each and every person the tools to conglomerate their own ideas, resources, individual aesthetics and cultures into fashions that are appropriate to their own beliefs, expressions and circumstances. This blog will document my journey as I attempt to self-teach myself pattern making, fitting and expert sewing techniques in order to satisfy this key goal of the Boij brand.



Jul 6, 2017

Sunshine Hair


Self Portrait by Erika Flynn, 2017


Nov 28, 2015

Astronaut Mae Jemison, M.D.

Astronaut Mae Jemison, MD with suit tech Sharon Caples McDougle, First black woman in space, beautiful, radiant, brilliant, orange space suit, NASA, Endeavor Mission, USA, 1992
Dr. Jemison at left with her suit tech. Sharon Caples McDougle at right (via)
Astronaut Mae Jemison, MD, NASA, Endeavor Mission, USA, 1992, running tests in space, clothing on space station, sci-fi, african-american, First black woman in space
Floating in space during STS-47 (via)

Dr. Mae Jemison, MD.
First black woman in space.

There are about a hundred thousand things I want to say about how awesome this woman is. I love these two photos of her. At top, Mae and her suit tech Sharon Caples McDougle (awesome interview with Sharon here) seem to radiate pure brilliance. It is very obvious that they have a special relationship and that they both love what they do. Space suits! - absolutely utilitarian - totally freaking cool.

Dr. Mae Jemison is an avid Star Trek fan and especially fond of the character Lieutenant Nyota Uhura. When opening her communications with NASA Mission Control at the beginning of her shifts, Mae would proclaim Uhura's standard line: "Hailing frequencies open". Famously portrayed by Nichelle Nichols, the role of Uhura was one of television's first significant feature roles for a black actor. Spanning from 1966-1969, Nichols' contribution to television came at a significant time during America's Civil Rights Movement - and when Nichols was considering leaving the show, Dr. Martin Luther King Jr. made a personal plea for her to stay. Nichelle Nichols is also credited to have shared in the very first on-screen interracial kiss on television with co-star William Shatner. As the story goes, Nichols and Shatner purposely messed up every take in which the studio wanted to film versions of the scene that omitted the kiss.

Dr. Jemison did herself appear on an episode of Star Trek: The Next Generation as Lieutenant Junior-Grade Palmer and is the only real-life astronaut to have ever appeared on the show.

Nichelle Nichols as Lieutenant Nyota Uhara as (via)
Dr. Mae Jemison as Liutenant J-G Palmer (via)


"Never be limited by other people's limited imaginations...If you adopt their attitudes, then the possibility won't exist because you'll have already shut it out ... You can hear other people's wisdom, but you've got to re-evaluate the world for yourself." 
Dr. Jemison at the Annual Biomedical Research
Conference for Minority Students, November 2009

Aug 30, 2015

Cheese Table Flowers

Photographs by Erika Flynn

Emily Henry of Chickadee Hill Flowers making some final on-site adjustments her large cheese-table urn arrangement, 2015.

Aug 19, 2015

"Drinking cup (kylix) with erotic scene"

ancient greek pottery, erotic art, MFA Boston collection
Taken at the Museum of Fine Arts, Boston USA

I spent a few hours exploring the Boston Museum of Fine Art's Greek pottery collections this past weekend. I particularly liked this piece. It's crazy how old these objects are and how useful they were in their time. My companion was able to weave the ancient stories for me as we investigated the pieces. Fascinating and beautiful on so may levels.
"A bearded man bends over a woman with short hair (which may indicate her status as a slave). She braces herself on the stool in front of her which has lion-paw feet and various things piled on top of it, including her clothes. To the left is a couch (kline) which has an elaborately carved post with ionic volutes. An overstuffed striped cushion tops the kline."
Inscription:
"the girl is pretty"
(HE PAIS KALE) (above their heads), and "Hold still!" (HEXE HESUXOS) (issuing from the man's mouth) ΗΕΠΑΙΣΚΑΛΕ ΗΕΧΕΗΣΥΧΟΣ (via)

Aug 13, 2015

Haircut


Julien Dys cuts Linda Evangelista’s hair, photographed by Peter Lindbergh, 1989. behind-the-scenes
Julien Dys cuts Linda Evangelista’s hair, photographed by Peter Lindbergh, 1989. behind-the-scenes
Julien Dys cuts Linda Evangelista’s hair, photographed by Peter Lindbergh, 1989. behind-the-scenes
Julien Dys cuts Linda Evangelista’s hair, photographed by Peter Lindbergh, 1989. behind-the-scenes
Julien Dys cuts Linda Evangelista’s hair, photographed by Peter Lindbergh, 1989. behind-the-scenes
Photographs by Peter Lindbergh (via)

Julien Dys cuts Linda Evangelista’s hair, photographed by Peter Lindbergh, 1989.
I love how this amazing haircut was documented.

Jul 25, 2015

Home Garden

flower garden strawberry accent, little strawberries after rainstorm, maine gardening
maine garden, dead iris flowers, old iris blooms, bearded iris
maine garden after rainstorm, twilight, fog, little cat, orange cat, looking into house at night
erika flynn, boijer, flynn flynn, capote sweatshirt, self portrait, maine, after rainstorm
Lilac blooms fallen to the ground, a carpet of fallen lilac blooms after a rainstorm, maine, garden, twilight
Photographs by Erika Flynn

I love the time of year when the lilacs leave thick mats of fallen blossoms on the ground. This spring carpet is a fine luxury. I leave the irises to spend their blooms away. Their stalks and molting brown petals are so enchanting. On the night I took these photos the air was damp and heavy. It was low tide and I could smell the wet seaweed on the beach all the way down the block.

Apr 15, 2015

Drug Busts

Lewiston, Maine Drug Bust / MDEA (via)
Brunswick, Maine Drug Bust / MDEA (via)
East Madison, Maine Drug Bust / Somerset County Sheriff's Office (via)

It occurred to me this morning as I flipped through my local paper that I love drug bust contraband photos.

First of all, how much thought goes into setting up the photo? Do police stations have special studio areas set aside for these pictures? Does some dummy try to set the shot up in a dim corner when another officer intervenes "The light is much better there over by the coffee maker."? Does the task default to an officer with artistic prowess like the waiter whose knack for drawing lands him the task of scribbling the daily specials on the patio blackboard? Were any of these pictures taken with a cellphone? I especially like the second photo because you can see the photographer's shoes.

Mar 3, 2015

Kriss Kross Girls

"Jump, Jump! Kriss Kross Girls." Photographed by Jeff Hahn for MTV UK

This editorial is so badass. I am so sick of fashion trying to sell stuff using dead fish and a deeply exclusive sense of self-importance. I want to experience stories and ideas told by people who are using fashions as a medium.

Even when I am in a state of 'fashion disgust'. I will never stop exploring. Discovering something that feels original, passionate, and honest is like hitting a way-point when I thought I was hopelessly lost. Maybe, because fashion magazines were my most accessible window into culture growing up, I am still deeply interested in the work within their pages. I revered the presentations that spoke the loudest and felt the realest. This particular one would be a good example.

Nowadays I appreciate fashion advertising and editorials as cultural compasses. I like to see how the interests of designers trickle their way into society. All things start somewhere, and the process of wearing things starts with a designer. So, whether you like it or not, sometimes flared pants will be the freshest thing in the supermarket.

OK Models: 
Sienna King
Tiara Young

Photographer:
 
Jeff Hahn
Styling:
 
Madeleine Østlie
Hair:

Nicole Kahlani
Makeup:
 
Danielle Kahlani
CAT workboots, for example, are being showcased in this shoot. I recognize them as Timberlands at first. I don't see this as an advertisement for these boots, even if whoever was culling these pieces for this story had them placed in their hands. Timberland boots are one of your few options for footwear if you are in prison. Since their design, these work boots have now acquired the power of a million stories. (Interestingly, Timberland boots used to carry a lifetime warranty for any consumer, though the offer has recently been revoked to incarcerated peoples.) These boots are being applied to this project like a texture; they were picked to tell, not sell. This texture shows me two girls owning a massive male street swagger. The fashion in this shoot is acting as a foil to highlight both the status of black men and the flex of women.

If you ever do see an advertisement for Timberland they will show you either 1) a proud and massive workman with a jackhammer or 2) Nordic guy with a rugged leather satchel full of important documents and ice-climbing gear walking briskly along a cobbled city street.

Paper glossies are obsolete now, I am grown up. It's time to get real.
Fashion is made by gigantic threshing machines threaded by the commonwealth as their uber wealthy and self-absorbed multi-national overseers Instagram pictures of manicured fingers clutching pastel-colored French macroons #tru. I am not interested in fashion that sounds like a little klipp of heels in an alley.

I haven't outgrown fashion, not in the slightest! The clothes are finally starting to fit. If I want things done my way, maybe I should just start doing them myself.

Feb 5, 2015

Lemaire, Pre-Fall 2015



Designed by Christophe Lemaire and Sarah-Linh Tran for Lemaire
The weights and shapes. I can't stop looking at these coats!

This is such a great presentation. I love the lighting in this shoot. The sun is strong and fracturing through the ocean mist. The cold and salty sea helps put me right between the seams. I really appreciate the juxtaposition of these clothes and the elements. This entire collection is great!