Erik Johansson The Cover Up Erik Johansson The Iron Man lana-del-rey-honeymoon--album-review-a-trip-to-the-dark-side-of-the-american-dream-10506097 What, one wonders, does David Lynch feel when he hears Lana Del Rey? Perhaps he’s flattered at the way she so skilfully personifies the precarious balance of danger and desire in his heroines? Or maybe he feels a little disturbed by her unflinching embodiment of this specific strain of his fictional characters: almost as if he’s being stalked by his own creation – which is, of course, a very Lynchian notion. Honeymoon finds Del Rey reverting, after the more atomised, individual characters of last year’s Ultraviolence, to a composite persona closer to the dissolute subject of her Born to Die debut. Not only does her vocal delivery remain the same throughout, but also its protagonist’s “voice”; while the emotional impact of what might sometimes be traumatic developments seems somehow damped, as if experienced through a narcotised haze.
Souveraines: Stunning photographs capture what societies run by women look like | Photography | Culture | The Independent Societies where women are either dominant or have entirely equal status with men have been documented by important contemporary photographer, Pierre de Vallombreuse, who is known for his work with indigenous peoples. De Vallombreuse visited four remote South-East Asian cultures where women play a central and decisive role in governance. Untouched by globalisation and technology, these isolated regions are, he believes, models for societies where being a woman is not a battle - a stark reversal of the patriarchies that are usual in the West. Mer de célèbes, Badjao, Borneo by Pierre de Vallombreuse Badjao by Pierre de Vallombreuse The photographer was astonished by how progressive such cultures can be - and how the mutual respect between sexes put even the huge leaps made toward equality in the past century in Europe to shame. Souveraines: Matriarchal societies Palawan children after games by Pierre de Vallombreuse
design-museum-exhibition-focuses-on-the-latest-craze-in-brand-allegiance--corporate-tattoos-10504431 At his busy tattoo parlour, Diamond Jacks, in the heart of London's Soho, Darryl Gates recently met with an odd request. A man, decked out head to toe in Nike garb, asked for the sports label's signature tick logo to be tattooed on to his calf. It was to join three existing Nike markings at various points over his body. Gates was unfazed. He had already inked hundreds of people with company logos. It might sound like rather bizarre behaviour, but, as a new exhibition – Like Me: Our Bond with Brands, at the Design Museum – points out, this sort of practice is actually no longer that strange. In the past, Glynn observes, we have looked to cultural icons, political movements, sports teams and faith groups to fulfil these needs. Gates, on the other hand, suggests that tattooing company logos on people is not a new thing, pointing to the fact that Harley- Davidson tattoos have been popular for decades. Thankfully, some are embracing big business in less permanent ways.
louis-vuittons-series-3-exhibition-unpacking-the-process-of-creative-director-nicolas-ghesquieres-autumnwinter-2015-collection-10500731 Louis Vuitton doesn't do things by halves. This is the house, after all, that once built a replica steam-train for a 10-minute fashion show, at a purported cost of £5m. Other sets have included carousel horses and a shopping mall-worth of escalators by the contemporary artist Daniel Buren, he of the humbug-striped pillars in Paris's Palais Royal. How to justify the cost? Publicity, chérie: that train show was in 2012, and we're still talking about it. Louis Vuitton's latest extravagance, however, will last longer than 10 minutes. Vuitton has titled the exhibition "Series 3"; but rather more evocative is the suffix: "Past, Present, Future". It's interesting, but not unique. La Galerie showcases pieces from the Vuitton archives from the past two decades on mannequins. As the name suggests, it's the third such show – earlier ones debuted in Los Angeles and Tokyo before touring to other cities. It also, of course, has a much wider reach. But, hey, you don't need me to tell you that.
tate modern explores pop around the world Andy Warhol's Marilyns? Roy Leichtenstein's comics? Richard Hamilton's collages? Pop Art is generally considered an Anglo-American response to the colourful, commercial brave new post-war world. The World Goes Pop, opening at Tate Modern on September 17th is aiming to show a whole new side to a style of work that still wields an immeasurable influence on art today. Pop art around the world was as ripe, conflicted, political, and colourful as its western counterpart; still a reaction to the new commercial era, globally it was often more avowedly anti-capitalist than the double-handed knowing critiques of Warhol. tate.org.uk Credits Equipo Crónica El realism socialista y el Pop Art en el campo de batalla, 1969. Museo Nacional Centro de Arte Reina Sofia, Madrid.
Culture - Why the sexy '70s are back Louche, exotic, free-flowing, bohemian, ‘gypset’ – these are words we’ll be hearing a lot in fashion this year. The ‘70s boho-luxe look is already creeping up on us, and takes centre stage with the Spring/Summer 2015 collections. From Celine’s floral tunics and Louis Vuitton’s crushed-velvet flares to Saint Laurent’s maxi skirts and turbans – the haute-hippy 1970s are without a doubt back in a big way. British designer Bella Freud has even named a scent 1970, which is full of heady overtones of musk and patchouli. The ‘70s ‘gypset’ look – combining ‘jet set’ with ‘gypsy’ – is globe-trotting, glamorous, luxurious, hedonistic, flamboyant: think floor cushions and incense, artists, rock stars and their entourages, or Talitha Getty posing in shimmering brocade jacket and harem pants on a rooftop in Marrakesh, probably the most quintessentially haute-hippy photograph ever taken. So what made this period such an influential era in fashion? Hippy hippy chic Bohemian like you
are real people the new faces of fashion? "Of course a lot of people are underrepresented in fashion," says photographer and Hood By Air casting director Kevin Amato. "I did an editorial maybe five years ago for a big house and I shot all black boys and the house banned me from shooting their clothes for the whole season." But, says Amato, things are changing. "Now I look and I see diversity. It's what everybody is doing. Performance artist Boychild at Hood by Air. "Diversity is becoming more of a given now," agrees casting director Preston Chaunsumlit. Last summer, the chain's New York store used "real size mannequins" for its window display. Yes to this. And yes also to last week's announcement that Noah Galloway, an Iraq War veteran and double amputee, will be the new face of Kenneth Cole's new men's fragrance. This particular casting decision also raises important questions about the way in which brands use casting within their marketing campaigns. Alexander McQueen spring/summer 1999 Credits
Photographer Who Documents Homelessness Finds Own Father Living On Streets Photographer Diana Kim had spent years documenting the lives of the homeless, but nothing could prepare her for the moment she recognised her own estranged father living on the streets. Now, after helping her father integrate back into society, she is determined to share his story through her project The Homeless Paradise in a bid to humanise homelessness and help those who are in the greatest need. Kim's father Kim, 30, first learned about photography from her father, who owned a photography studio in Maui when she was younger. When her parents separated, her father became increasingly absent from her life until she completely lost contact. In 2003 Kim enrolled on a photography course and started documenting homelessness. Kim's father suffers from schizophrenia, but until she found him she was unaware of his condition. She describes the moment she saw her father as "devastating". "A woman came by and told me to 'not bother,' because he stood there all day," she told NBC News.