The Casual Sneaker of the Herzogenaurach based Sportswear Brand gets dripped in gold with the new “Metallic Gold” colorway.
Comprised of a synthetic combination, the gold is offset with white accents in the heel tab’s Trefoil logo, as well as its laces and outsole.
The Ordinary Fits x YMC jeans have a straight leg and are cropped at the ankle. Cut with a traditional five pocket design, the jeans fasten with a button fly closure with silver metal rivets throughout.
Ordinary Fits are a Japanese brand founded in Kojima, the birthplace of Japanese denim. Their designers stay loyal to local production techniques, ensuring that the silhouette and finish are of the highest quality. All garments are produced according to Ordinary Fit’s traditional methodology, combining advanced sewing techniques and the finest quality fabrics.
ordinary-fits.com
www.youmustcreate.com
Barbour has teamed up with Japanese label White Mountaineering for a capsule collection for Fall/Winter 2015. Consisting of jackets, sweatshirts, Tarras Bag and trousers. With the outerwear and bags made of waxed cotton, it assures durability without compromising style and structure. The capsule is presented in a predominantly muted color palette with pops of rich blue evidenced in the crewneck sweater and the Raekawa quilt gilet.
www.barbour.com
www.whitemountaineering.com
Italian atelier Zagato has teamed up with Leica, to produce a set of limited edition binoculars. Boasting lightweight aluminum construction, the design is marked by anodized red rings at the front lenses with Zagato branding while a time-consuming manufacturing process gives users a unique haptic sensation as the binoculars employ countless milled grooves throughout their surface.
Production is limited to just 1,000 sets globally.
leica-camera.com
www.zagato.it
Between 2013 and 2014 Simon Norfolk visited the Bamiyan Valley in Afghanistan, an area of the country once famous for its 170 foot tall Buddhas and more so now for their demise at the hands of the Taliban in 2001. Setting up his camera at over a dozen locations over a twelve-month period, Norfolk looked to depict the slow, silent release of the seasons in ‘a year long un-blinking honesty.’
“The winter snow marches up to the summer peaks and then slowly returns, like the gentlest of waves lapping on a lakeshore. The surface of a field rises when it is full of crops and falls again when it is harvested. When the branch of a tree is full of sap it is heavy and it leans; in the autumn it is lighter and it ebbs.’” (Simon Norfolk)
A copse of trees, a pair of deserted Soviet tanks, a boarded up town at the foot of the mountains; these anchors of the landscape provide the backdrop as we watch the seasons slip into one another. Described by Norfolk as being like the stanzas of a love poem to the Afghan landscape, time unfurls seamlessly in the photographs. Seeking to define the space between the works as much as the images themselves, Time Taken is the first in a three part series of ‘stratographs,’ studies in the passing of time.
Opposite – Time Taken 6, Early Spring
Exhibition runs through to September 8th, 2015
Michael Hoppen Gallery
3 Jubilee Place
London
SW3 3TD
This exhibition presents a selection of more than 50 of his groundbreaking photographs, drawings and paintings, dating from 1952 onwards. It was at this time that Molinier moved towards a more ‘magical’ style of art, a style that sought to bring to the surface unconscious desires and erotic drives and subsequently captured the attention of André Bréton, the founder of Surrealism. Breton became an avid supporter of his work and organised Molinier’s first exhibition L’Étoile Scellée, in 1956, which established his reputation.
Molinier’s fascination with the body and the erotic manifested itself through his carefully staged photographic portraits and self-portraits. Whilst his paintings and drawings depicted female characters in vertiginous, dark backgrounds, in his photographs he adopted a more joyful approach, reshaping his and his model’s appearances through doll’s masks, clothing, accessories, and S&M paraphernalia. Cross-dressing was, for Molinier, the preferred method of reshaping his own appearance, and this exhibition will present a collection of these self-portraits.
Molinier’s creative process was both strict and experimental: he would mix colour pigments with his sperm; he only used as models the people whom he loved; he would fellate himself whilst releasing the camera’s shutter; he would have sex with the dolls he was using for his shootings; hand-sew and alter female undergarments to fit his body; alter photographs by manually manipulating the negatives using his body parts.
Opposite – Le Festin de Manes, planche 40 du Chaman, 1960
Exhibition runs through to October 2nd, 2015
Richard Saltoun
111 Great Titchfield St
London
W1W 6RY
