Sex Pistols In Keanan Duffty gear.

John On The Jimmy Kimmel Show in KD Union Flag Shirt.



Steve Jones Dreaming Of England.



Rotten Wearing Reebok/Keanan Duffty Sneakers.







Glen in 'Let It Rot' T-Shirt.



The Mighty Matlock

5 Minutes With Beatrixe

Based in New York City, BEATRIXE was founded by three European partners arriving from diverse backgrounds in investment banking, marketing and design. After their graduation from Brown University, NYU and Parsons School of Design they partook in a variety of branches of fashion for several years before coming together to introduce their line. Launched for Fall 2010, BEATRIXE collections consist of luxurious blouses made of soft romantic silks, free-flowing dresses, unique mini skirts, body hugging biker pants, cashmere and wool knits and paper thin shorts combined with leather details. The signature BEATRIXE palette is neutral, touched with pastel colors and revived by various tones every season. Understated, cool and polished, BEATRIXE brings day to night, casual chic to sensual chic. BEATRIXE, meaning a voyager through life in Latin, is evolving in the upcoming seasons to create a complete world for the BEATRIXE woman.

Q1.What was the first song or record you bought that really changed your life?

Guns N' Roses, appetite for destruction.



Q2. How did the two of you meet and what inspired you to start the Beatrixe line?

We are childhood friends and after college, at some point we started working at Devi Kroell together, but we always wanted to start our own line. It took a while to come up with a business plan, to find an investor and actually start designing!

Q3. You are both originally from Turkey. Many international brands are producing in Turkey for its high quality manufacturing combined with competitive pricing. Do you feel we have now entered a time when the snob appeal of for example 'Made in Italy' is passe?

I feel like we have seen enough of economic crisis in the last decade to understand the value of competitive pricing. China is usually not a good solution for small or mid-sized high quality manufacturing for younger brands. So the importance of having an alternative way of production is really important for us. Many of the established brands are also using Turkish manufacturers now, as with some of them we use the same places.

Q4. What is the concept behind your collection?

It's a contemporary line with a designer aesthetic. Young, chic, understated and feminine. Luxurious fabrics, clean lines and the use of colors are very important.

Q5. Where do you see the brand in ten years time?

Beatrixe has grown tremendously in the last year, since we started the brand. We are taking it step by step and enjoying having to design more every season.

http://beatrixe.com/

Keanan Duffty Designs Circa Early to Mid 2000's.

Keanan Duffty Designs Circa Early to Mid 2000's.



UK Flag Shirt-2001.



England's Dreaming/Jon Savage T-shirt Collabaoration-2004.



T-Shirt Made by KD studio-2004.



T-shirt Design Pitched to The Who-2005.

Sue Clowes Designs for The Foundry and Culture Club

Sue Clowes is a British fashion and textile designer who first became known for her designs for The Foundry shop and the band Culture Club. George O'Dpwd, who worked at The Foundry before Culture Club's success, wore the religious symbolism inspired designs in New Sounds New Styles magazine and in The Face.












In the summer of 1982 I was eighteen years old and just about to move to London to study fashion as St Martins. My girlfriend at the time had already been living in London for a year and I had been visiting her and going to as many clubs and great shops as possible. These included World's End, Kensington Market, PX, Johnsons, Great Gear Market and of course The Foundry.

I had heard about Sue Clowes designs and saw George O'Dowd and his new band Culture Club wearing them in the magazine New Sounds New Styles and The Face. I felt that it was the first time screen printed 'message' t-shirts had made an impact on street fashion since punk and that was exciting. I also though the the mixture of religious imagery was great, a bit subversive and a reaction against the New Romantic Glam that had gone before.

I headed to The Foundry and was delighted to see George working in the shop. He was wearing some of the Sue Clowes designs, along with full make up and, strangely, a five o'clock shadow under his chin. Either he was really bad at shaving or this was some beauty tip that I had not heard of. George was very friendly and helped me choose a sleeveless t-shirt with the Star Of David design. I told him I liked his band-thier single White Boy had only been out for a few weeks and was a club hit, though not on the pop charts.

My girlfriend and I decided to head to the South of France for a budget camping holiday and we both took our Sue Clowes gear in our back packs, along with a tent and several packets of Pot Noodle. the t-shirts were our big fashion statement at that time and we visited St Tropez for a bit of a pilgrimage to go to the Papagayo Night club, where Spandau Ballet had been in residence before their fame. The club was rubbish though, over priced drinks and bad music, Spandau Ballet were long gone.

Whilst in St Tropez we had our portraits drawn by one of the tourist sketch artists, proudly wearing our Sue Clowes t-shirts. I remember someone looking confused and asking us "Are you Jewish?", because of the prominent Star Of David printed on our shirts, along with other religious iconography. The only religion we really subscribed to was street fashion.

By the Autumn of '82 I began my studies at art college and Culture Club had become a chart band. I think I wore the Sue Clowes shirt a few times to a club called Cha Cha's and then finally laid it to rest. It may have ended up being sold on the stall that my girlfriend and I briefly had at Camden Market.

Sue Clowes really influenced me as a designer. I got into textile design and saw that t-shirts could be a canvas for messages and not just promotional devices for bands. Now I wish I still had that t-shirt.

Central Station Design

Clockwise from top left: The Happy Mondays' 1990 album, Bummed (FAC 220); 1991's Jude Fudge single artwork (FAC 332); Cover of Black Grape's album It's Great When You're Straight Yeah; Wrote For Luck (FAC 212) – all part of Central Station's Factory sleeves.

Central Station consists of Karen Jackson and brothers Pat and Matt Carroll. The Carrolls were steeped in the technical proficiencies of graphic design and typography: Pat and Matt had both attended Salford Technical college earning graphic design degrees from the Society of Industrial Artists and Designers.
“We did a year of art foundation followed by three years of graphic design,” recalls Pat. “This was in the late 70s when it really was a technical college,” he adds. “There was a guy called Brian who ran a letterpress and he had huge trays of type which we learned how to hand-set, doing all the leading and kerning. We’d have races to see who could set a block of type the quickest without making mistakes.”

Now That's What I Call Graphic Design.


Sweet-wrapper-tastic sleeve for the Mondays' Pills'n'Thrills'n'Bellyaches album (FACT 320)


Ken Dodd painting from the Playmates series.


Barbara Windsor, as she appeared in the Playmates series.


The portrait of Shaun Ryder that was cropped to form the cover of Bummed.

5 Questions for Cator Sparks

Cator Sparks is a Southern transplant to New York City who has made a Harlem townhouse his home and where he is proud to be Block President. From there he incubates (usually in a caftan) in his Vreeland red office conjuring up pitches focused on menswear, travel and design. Those pitches have fortunately been picked up by the likes of The New York Times, T Magazine, and The Moment, Elle Décor, Rodeo, City and Out Magazine as well as Style.com, Wearethemarket, Contributing Editor and Hintmag.com. Cator is also the U.S. Editor of WeAr Magazine. By night he can be found anywhere from a high brow social soiree to a down and dirty dive bar looking for new stories, new designers and of course, new cocktails.

Q1.Which song or record has really changed your life?

CS: World Clique by Deee-Lite. That was the first record I listened to that really seemed unlike anything else in the world.
It seriously made me feel funny and tingly. I knew that that was the kind of lifestyle and people I wanted to be with and the kind of music that would get me through a rough day at school. The first time I met Lady Kier years later I nearly cried. She is still a friend and she still has that magic touch.

Q2. When did you know you wanted to write about and chronicle the world of fashion and style?

CS: When I lived in London for a year of school in 1998 I would email friends and family once a week with a story on all of my antics. I kept getting responses from people that I should really start writing as a career and not just a hobby.

Then in 2002 I was on a trip in India for a friends birthday and met a woman by the name of Meredith Ethrington-Smith. She is a great writer and a real personality in London. I told her I wanted to write and she stared me down and boomed, "I want you to buy a computer the moment you get home and I want you to write every morning before going to work and I want you to send it to me to read. You will be a writer!" So I did and here I am.


Q3. You are a traveling man. What’s your favorite spot so far in all of your global trotting?

CS: I've been all over the world but nothing recharges me like going home to the South. The Golden Isles of Georgia are one of my favorite places in the world with the scent of paper mills in the air, grand old oak trees and Spanish Moss swaying in the breeze. I try to go somewhere once a year that is off the grid and I have little to no internet or phone service. This year I went to the Persian Gulf with my mother and fell in love with Oman and last year I spent a month in Africa roaming Mozambique, South Africa and Botswana. It was total heaven.

Q4. Tell me a little about the fabulousness of living in Harlem.

CS: Well it has its ups and downs. I have been here for ten years and in the last two it has really changed. We have our own restaurant row on Frederick Douglas Boulevard! It's a magical place on Sundays when I wake up to tambourines and gospel from the church down the street and the block parties are always good fun. People actually say "Hello" on the street up here and don't just rush by in their oversized sunglasses, Uggs and Starbucks like they do in Soho. I also am fortunate enough to live in an amazing historic townhouse with the milliner, Rod Keenan and it truly is a home. At the same time the chicken and fish bones that litter the sidewalks are a nightmare now that I have a dog who tries to chomp on one any chance he can get, which of course is very bad for him. No puppy hospital please!

Q5. Your new role is as the Editor In Chief of Lookbook. How does this differ from your freelance life as a writer for the New York Times, Huffington Post, Acne Paper and W.com?

CS: Well for one thing I actually get a check once a month. What a novel idea! Being freelance is very difficult since you never know when you will get paid. But besides that it gets me out of my house more. I usually write from home all day and hit some events in the evening but now I go in the office several days a week and it is nice to actually get dressed and work with other people. Writing is one of the loneliest jobs in the world and it is very exciting to get some validation from other people that my ideas and columns for the site are working and are getting good feedback. I will still keep some freelance going since it is fun to have some variety but this job really is non stop and I am learning alot. Who knew Google docs was so amazing?

Happy Birthday Bryan Ferry

BRYAN FERRY, CBE was born on 26th September 1945, Washington, County Durham, UK. Ferry formed Roxy Music with Graham Simpson, in November 1970. The line-up expanded to include saxophonist/oboist Andy Mackay and his acquaintance Brian Eno, who owned tape recorders and played Mackay's synthesiser. Other early members included timpanist Dexter Lloyd and ex-Nice guitarist David O'List, who were replaced respectively by Paul Thompson and Phil Manzanera before the band recorded its first album. (Early Peel sessions for UK radio station Radio 1 feature O'List's playing.

Roxy Music's first hit, "Virginia Plain", just missed topping the charts, and was followed up with several hit singles and albums, with Ferry as vocalist and occasional instrumentalist (he taught himself piano in his mid-twenties) and Eno contributing synthesiser backing.

http://www.bryanferry.com/

Alex Ross - Super Heroes

Alex Ross (Nelson Alexander Ross born January 22, 1970) is an American comic book painter, illustrator, and plotter. He is praised for his realistic, human depictions of classic comic book characters. Since the 1990s he has done work for Marvel Comics and DC Comics (e.g. Marvels and Kingdom Come, respectively), as well as being involved in creating independent works featuring superheroes (e.g. Astro City and Project Superpowers). Because his painting style is time-consuming, he primarily serves as a plotter and/or cover artist. Comics Buyer's Guide Senior Editor Maggie Thompson, commenting on that publication's retirement of the Favorite Painter award from their CBG Fan Awards due to Ross' domination of that category, stated in 2010, "Ross may simply be the field's Favorite Painter, period. That's despite the fact that many outstanding painters are at work in today's comic books.


Ross' awards include a 1997 Will Eisner Award for the limited series Kingdom Come (with Mark Waid) and a 1998 National Cartoonists Society Comic Book Award for Superman: Peace on Earth.

Ross won the Comic Buyer's Guide's CBG Fan Award for Favorite Painter seven years in a row, resulting in that publication's retirement of that category. Comics Buyer's Guide Senior Editor Maggie Thompson commented in regard to this in 2010, "Ross may simply be the field's Favorite Painter, period. That's despite the fact that many outstanding painters are at work in today's comic books."



Alex Ross drew the cover picture on the Anthrax albums We've Come for You All, Music of Mass Destruction and Worship Music.
Ross designed a series of costumes for the 2002 film Spider-Man, but director Sam Raimi instead chose not to use them. In the film's video game tie-in, as an easter egg, it is possible to unlock a playable version of Ross' Spider-Man design. When using this, the Green Goblin will also feature one of Ross' unused character outfits. As such, Ross was commissioned to do a series of drawings for the opening credits of Spider-Man 2, which recapped the major events from the first film.
Ross painted the Kollectors Edition cover for the console game Mortal Kombat vs. DC Universe. A smaller version of this painting is included on a separate textured card inside the case. He is also featured in his own segment on the Blu-ray/DVD included in the package.




http://www.alexrossart.com/

Keanan Duffty Studio

Keanan Duffty Studio-Wooster Street NYC. 2003-2006.

FIVE QUESTIONS from Genesis BREYER P-ORRIDGE

Genesis Breyer P-Orridge (born Neil Andrew Megson 22 February 1950) is an English singer-songwriter, musician, writer, and artist. P-Orridge's early confrontational performance work in COUM Transmissions in the late 1960s and early 1970s along with the industrial band Throbbing Gristle, which dealt with subjects such as prostitution, pornography, serial killers, occultism, and P-Orridge's own exploration of gender issues, generated controversy. Later musical work with Psychic TV received wider exposure, including some chart-topping singles. P-Orridge is credited on over 200 releases.

FIVE QUESTIONS from Genesis BREYER P-ORRIDGE

Q1. One could draw a line connecting your work to the “modern primitive” movement, Acid House, the industrial movement, punk rock, Timothy Leary, the Merry Pranksters, the Beat Generation all the way back to the Dada-ists. After 5 decades of artistic expression, including inspiring, creating and collaborating some of the aforementioned, where do you see your art going next?

In 1993 we met Lady Jaye. We have, as you say, met and collaborated with many amazing artists and literary figures in our journey. Derek Jarman, W.S. Burroughs, Brion Gysin, Ken Kesey, Dr Timothy Leary and a host more. We can honestly say, with hindsight and serious thought that Lady Jaye is the MOST remarkable human Being we have EVER met. From the beginning we began playful dressing up. We were the “Plague” for a reading at Jackie60!

We both believed in a direct karmic link between the Inquisitions and S&M Domination. The witches burned and tortured now wear the oppressors outfits and use their tools to torture males of power. Soon we were dressing the same, doing our hair the same. We saw our SELFs as two halves of a whole. Burroughs and Gysin credited their mutually created cut-ups with writing, photos and tape-recorders to a “THIRD MIND” that only existed as the union of the two of them through pieces of Creation. Lady Jaye and myself believe all that we create, and our very physical existence, when evidenced by our ever more determined rituals to integrate totally body and soul were a “THIRD BEING” which we called the Pandrogyne. A Positive Androgyne. Each of us was literally “The Other Half” of this being. The Alchemical hermaphrodite as storm troopers of a future in potentia. Burroughs asked me, how do you short circuit control? This led us via all kinds of scientific and consciousness exploration to conclude DNA is a probable contender for the location of control. We feel it is a recording device that goes back to single celled slime mold billions of years ago. Making it also the common denominator of “life”. We speculate that mitochondria could be the superior life form on earth and human beings are useful containers, deliberately given an unnecessarily short lifespan. We are hosts to this parasitic species. Where do the thoughts of DNA stop and our autonomous consciousness begin? By breeding constantly we unwittingly perpetuate our rival species who may have come from off earth.

NOW! We wanted to confound these little blighters. Our first act was a vasectomy. A denial of the continuance of DNA via my body. We see bodies more as a biological coral reef a congomerate of clusters with more than one agenda. Lady Jaye calls the body a cheap suitcase. We get discarded once our DNA has run its current programs. The human body is NOT SACRED! It is just a biological container for its precious cargo of consciousness. “YOU” and “I” are not the body itself. That is a container. “You” and “I” are the mind that resides within our cortices. Once we saw that DNA was a crucial sector of “control” we wanted to at least symbolically reject DNA and its usual control over exactly how our body looks and functions biologically. Which led us to cosmetic surgery procedures. The initial LOVE motivation of wanting to literally be physically consumed

by each other and so be able (we dreamed) of becoming ONE single being after we both drop our cheap suitcases. A single being the sum total of both consciousnesses fully integrated and still aware of an autonomous memory of itself and thus viable for infinite time and space, even dimensional travel together for eternity. We have worked with reincarnated Rinpoches from Tibet for many years and are convinced certain beings can remain identity intact after death AND return and get reborn to continue spiritual work on earth should they choose. Why not aim for the stars? Brion Gysin said we are here to go…we agree. The human species as it is now is still at a primitive, theoretically larval stage. We have so much more potential to grow and develop. Our technological environment is far advanced over our spiritual growth. This imbalance has led to totalitarian capitalism which unchecked will destroy all species ever more rapidly. If we DO move out to colonize space, Pandrogeny suggests we use science to find how to hibernate like bears, frogs and many other creatures. Long journeys would become feasible. Perhaps we could become cold blooded to save on heat in space. Become shorter, maybe short legs are all we need in space without gravity. In fact once you realize that this body we have is dictated by DNA without your say, and you let go of assuming this is the end of our evolutionary design, the possibilities become endless. Grow fur, feathers, gills to swim, horns for decoration. Many hued skin. We have become apathetic and inert. Entropy is a natural law, when we stop using our
imaginations for the most incredible dreams of new perception, we are on the slow road to extinction. So, now we’ve shed a small light on what was an intricate grueling but ecstatic journey Lady Jaye and my SELF made, we can tell you the answer to question
one.

We see our works going ever more deeply into the genetic and biological research required to make people aware that “This time around you CAN be ANYBODY, with ANY BODY”. (Dr Timothy Leary with a slight addition).

My personal goal is to prepare myself mentally, spiritually and physically to drop my body and then, we pray, find Lady Jaye’s “consciousness” awaiting me. Then we shall flow happily into each others essence in total unconditional surrender to BIG LOVE
and become one “pandrogyne of pure mind” created from our two halves. Our work will metaphorically and literally always refer one way of another to this endless quest for moments of perfecting. Let our species awaken and perhaps begin to apply their massive resources to unifying our species instead of fragmenting it. We MUST start to truly see our SELF as one cell of a massive, beautiful organism called the Human Species. Once we perceive our SELF as a tiny part of a whole we would inevitably phase our conflict and be active only in the greater good. If food is needed it is supplied to the part of the species “body” that requires it. Once we see ourselves as totally integrated with every other person. Parts of a whole, like Lady Jaye and my SELF are parts of our whole too the likelihood of destructive and selfish choices diminishes.

VIVA LA EVOLUTION!!!

Q2. In 2009 “30 Years of Being Cut Up,” a retrospective of your collages was presented at Invisible-Exports and the Tate Gallery acquired 40 years’ worth of your art, writing, correspondence, video and audio. You have also lectured at universities and given talks at Rutgers. Do you feel you have now been accepted by the establishment?

There are days when we WISH we could “sell out” or whatever that is or how that is done we’ve never known. It is true we give Lectures sometimes at Colleges and Universities. Recently at MoMA in New York, Rutgers, and NYU. We have always
felt it vital for an artist to share both those who have inspired their path and work AND the conclusions and information they have retrieved during more extreme body and out of body experiences. Perhaps our explorations, some taken at risk, can be useful, functional or even just a flag saying “You are not alone” to a person in the boonies who is isolated, maybe picked on. So we accept talks to SHARE what we can IN CASE it is useful in some way, maybe even as a warning. The Establishment normally reward your surrender into their cabal with seductive invitations to power gatherings and soirees. They also funnel money to their favorites ( in the mediaeval sense of favorites). As long as young people come and tell me they are inspired or encouraged by my words we will continue to talk. We’d LOVE to begin teaching a seminar at NYU, or Columbus, any college in New York really. Any offers? So far we’ve not even been offered a degree or a blue “lived here” plaque on the old Funhouse in Prince Street, Hull…so it is a wary truce. But we are actually glad to be finally taken more seriously for our entire body of work rather than be cheaply dismissed for a miniscule number of more easily sensationalized moments decades ago.

Q3. In your early years, how did your parents react to your work?

We dropped out of Hull University after one year in 1969 and hitched to Islington to join David Medalla’s “Exploding Galaxy” commune. On the way to London we went and told my parents who’d sacrificed a lot to put me through a really good private education via scholarships. My mother cried a little and hoped we’d go back and “Get a degree first”. We refused. My father was angry. He only called me by phone ONE time between 1969 and his death in the late 90’s. When we changed our name to Genesis P-Orridge legally my mother cried a lot more! She saw it as a rejection of them and my ancestors. She too only phoned me once herself since then this year when she died at 92. However, during especially COUM Transmissions times she usually just said “OH Gen, is that really necessary?” So the first 20 years alienated both my parents. They found the endless sensationalist press embarrassing at social functions where all their friends knew all about what her naughty
son got up to. In the last decade or so she began to be very PROUD of my works. She would often say, “Well you were always 30 years ahead of your time dear,” It really changed when we curated a night at the Royal Festival Hall, London. Being pre-war generation she admired the Royal Family. So the Queens own theatre was a big deal. Then the Tate

Britain added my archives (what was left) to the National Collection and to her this was real vindication. She was always careful never to ask about the CONTENT though. My mother adored Lady Jaye and this mellowed her to me and our works together. She took tits and make-up in her stride, Not even blinking.



Q4. Has the concept of ‘Pandrogyny’ been welcomed by transgender community?

PANDROGENY is not about switching gender. It is about the deep ramifications of identity, social, economic, violent, political, religious conditioning however and about peer group and familial pressure too. Inevitably gender inequities are entwined irrevocably in all this. One way we try and explain the different emphasis Pandrogeny is more concerned with. Some people feel they are a woman trapped in a mans body. Some people fell they are a man trapped in a womans body. A Pandrogyne just feels trapped in a body.

We have little control, as yet, over length of life. If we could have our dream it would be to have a vagina, asshole, penis and breasts. We want it all! We also find binary systems anathema to radicalized evolutionary forces. The increase in visibility of the
transgender and transsexual, even intersexed community are all wonderful progress to us. And as we are almost always assumed to be a woman when out and about, we find it simpler to reinforce transexuality that way. By leading life 24x7 as a female appearing Pandrogyne we HAVE had bigots and thugs attack us. We suffer curb crawlers too with
hetero rape in mind. Don’t imagine it is easier to be pandrogenous. And we support all our GBLT communities 100%. Having said all that, it has so far ONLY been a small minority of transgendered people who have expressed disdain, even anger at us. The picture that some trans people see during transition is a holy grail perhaps of finally being a woman and being WHO THEY REALLY are. And we can see that there is a certain acceptance in terms of a stereotype of “woman” being imagined. It is so psychologically complicated. Just remember if you feel we blur the issues, we would be burned on the stake next to you if the fundamentalists got their way. And as an aside, personally, we identity as a female. But we are not bothering to change our voice or walk etc. We want to be an accumulation. A spanner in the identity machine. Nearer the beginning with Jaye
being as much alike and feminized was enough. NOW we see there’s a huge amount of work to do to end injustices, CHANGE human behavior for good and succeed in liberating our selves our bodies beyond gender and sexual stereotypes to a whole new evolutionary paradigm. Transsexuals, for reasons of protection and support, tend to form groups and take care of each other to varying degrees. Pandrogynes are ALL inclusive, the deepest nature and behaviors is our province. Can we CHANGE humans from self destruction, hypocrisy, fear and suppression from those in power?

We believe we can and Pandrogeny is one tool.

Q5. It struck me that, more than 30 years after a Tory member of Parliament seethed to the Daily Mail, “These people are the wreckers of civilization”, you still have the power to shock and confront people in a way that many of your contemporaries have lost. Do you think there are any artists/performers today who could carry the mantle of “Wreckers Of Civilization”?

We have felt slight twitchings of something happening. Go to our website www.truetopi.ning.com where we are trying to create a network with the primary reason for this ning is to brainstorm on the realities of setting up autonomous, creation driven (ie. Art etc) coum-unities. Who buys the land? Who owns it? How do you survive? Who cooks, cleans, gardens? Having lived in communes and collectives of various types most of my life we HAVE seen the best and worst of such experimental coum-unities. Our legacy, could we have one, would be to begin a long lasting web of small self motivating coum,-unities and retreats. Avoiding the myriad pitfalls that destroy nearly all communes in a year. As to specific artists who might be termed “Wreckers”….not so far. But that doesn’t mean they are not out there. However, our belief is the Individual, look at me!, ego sodden, uniquely inspired devoid of influences artists are less and less relevant. And as global structures collapse. Zones set up for shared pressures will also be collections of artists, musicians, writers, thinkers, mechanics, and lovers. VIVA LA EVOLUTION!!



http://www.invisible-exports.com/artists/genesisporridge/breyerporridge.html