Vivienne Westwood and Malcolm Mclaren opened the pioneering Sex fashion boutique in London in the 1970s. They were leaders not only of punk style but the sound too.
Dreamy neon photoshoot courtesy of AnOther Magazine
From the top: "Fuck That', "Pantydropper", "We were in awe of his work but he was a giant asshole", and "Those Guys are Pussies" by Wayne White
Wayne White is an American artist, art director, illustrator, puppeteer, and much, much more. Born and raised in Chattanooga, Wayne has used his memories of the South to create inspired works for film, television, and the fine art world. After graduating from Middle Tennessee State University, Wayne traveled to New York City where he worked as an illustrator for the East Village Eye, New York Times, Raw Magazine, and the Village Voice. In 1986, Wayne became a designer for the hit television show Pee-wee’s Playhouse, and his work was awarded with three Emmys. After traveling to Los Angeles with his wife, Mimi Pond, Wayne continued to work in television and designed sets and characters for shows such as Shining Time Station, Beakman’s World, Riders In The Sky, and Bill & Willis. He also worked in the music video industry, winning Billboard and MTV Music Video Awards as an art director for seminal music videos including The Smashing Pumpkins' 'Tonight, Tonight' and Peter Gabriel's 'Big Time.' - images and text courtesy of Joshua Liner Gallery and Wayne White
Phyllis Galembo has made over twenty trips to sites of ritual masquerade in Africa and the Caribbean, capturing cultural performances with a subterranean political edge. Her impressive body of photographs depicts the physical character, costumes, and rituals of African religious practices and their diasporic manifestations in the Caribbean and South America. Masking is a complex, mysterious and profound tradition in which the participants transcend the physical world and enter the spiritual realm. In her vibrant images, Galembo exposes an ornate code of political, artistic, theatrical, social, and religious symbolism and commentary. - image and text courtesy of Steven Kasher Gallery and Phyllis Galembo
I Diana Vreeland is fast who would wannabe slow? Excerpt from Diana Vreelands biography. In conversation with Andy Warhol.
"I am only good for two things in this world," Valentino once told me, “designing dresses and the decoration of houses. I am not capable to do anything else.” The two tasks are inter-related. Every environment Valentino inhabits must be as flawless as the dresses he designed for almost 50 years. Just as each piece of Valentino haute couture is an essay in perfection, from proportion and drape to construction and embroidering, the rooms he designs for himself in concert with a revolving cast of star interior designers—Renzo Mongiardino, Peter Marino, Henri Samuel, François-Joseph Graf, and Jacques Grange, to name a few—are stage sets for one man’s heroic and very costly attempt at ideal living. In retirement, Valentino realized he would have more time to spend in his New York apartment, on Fifth Avenue overlooking the Frick Collection and Central Park. Jacques Grange was summoned to make something “more light, and more for my art collection,” Valentino says. The old interior was a 1980s ode to czarist-Russian opulence, featuring dark wood marquetry and a riot of paisleys and ginghams. “Look at the beauty of the light in this room!,” Valentino cries, as he enters and stands in front of a Richard Prince pastel that dominates the salon. It took a crane to lift his Jean-Michel Basquiat triptych through the window into the small study. Grange ordered white lacquered walls as the backdrop for the designer’s burgeoning Modern painting collection, and the neutrality of the rooms lets the colors of the art stand out. Blue Delft porcelain vessels communicate nicely with a similar blue in a Roy Lichtenstein painting. A fluorescent Andy Warhol camouflage painting commands the dining room, where exquisite Italian meals made by a French chef are served on a never-ending array of priceless crockery. It would be hard to call anything Valentino does minimal, but, for him, this apartment shows a measure of restraint, while still supplying something complex, sophisticated, and playful for the eye. In the maestro’s own words, “I love beauty. It’s not my fault.” [Excerpt from Vanity Fair]
Images courtesy of Vanity Fair and Architectural Digest