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Deborah Sams and Mary-Lou Ryan founded the Australian brand Bassike in 2006. They combine easy-going style with a subtle element of luxury. Bassike’s aesthetic is influenced by the contrasts of loose Australian beach style and the simplicity and minimalism of Japanese design. The designers want to create timeless wardrobe staples with sustainable fabrics.
They have now released their resort 2014 lookbook, featuring a collection of deconstructed silhouettes in neutral tones with materials such as cashmere knits, soft wool and Italian cotton. I particularly like the slouchy leather pants, the coats and jackets with the industrial looking belts and the styling with thick socks and Birkenstock sandals.

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David Ross was the first photographer who shot a very young Kate Moss in 1988 at the beginning of her career. His pictures are being exhibited at London’s Lawrence Alkin Gallery. The images are titled “Kate Moss: Roll 1″ and show the girl who would become one of the most prolific models of our time fresh-faced and fluffy-haired. The photographer remembers the moment he first met 14-year-old Kate in October 1988: “There was a unique sparkle to her which was bound to evolve into something special, although I had no idea how much at the time”.

800x1200xkate-moss-young5.jpg.pagespeed.ic.QrEbwYb5B- 800x1200xkate-moss-young6.jpg.pagespeed.ic.qGX0PEX3qr 36524.fullwidthproduct 800x1200xkate-moss-young3.jpg.pagespeed.ic.PqH2zsl-ie 365331.fullwidthproduct 36535.fullwidthproduct 800x1200xkate-moss-young4.jpg.pagespeed.ic.YNTRJrvkgG 36534.fullwidthproduct© David Ross

Lou Reed died yesterday at the age of 71. He was the lead singer of the Velvet Underground – a band who was managed by Andy Warhol – and had a long career as a solo artist with a fan base that included David Bowie, Mick Jagger and Patti Smith (not to mention that he was married to performance artist and musician Laurie Anderson). He was also a true pioneer who wrote lyrics that dealt with homosexuality and drug addiction at a time when these subjects were very much taboo. He also had an iconic, signature style that captured his dark, rebellious side.

1983
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1970s
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1970s
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1975
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2013 cover of The Times featuring a portrait from 1975.
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Hedi Slimane for V magazine, 2013.
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1972 album Transformer, shot by Mick Rock.
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With Andy Warhol at a release party for Rock and Roll Heart. New York, 1976.
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With David Bowie and Iggy Pop. London, 1972.
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With Mick Jagger and David Bowie after Bowie’s last performance as Ziggy Stardust. London, 1973.
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©Transformerby Lou Reed and Mick Rock.

Jil Sander is leaving her eponymous label for the third time after designing for three seasons. She first left in 2000 after Prada bought a controlling stake in her company, only to come back in 2003 and then exit again in 2004. After Raf Simons started his tenure as Dior’s creative director in 2012, it was announced that she would be returning once again. Her last collection showed at spring-summer 2014 Milan Fashion Week. According to WWD, she is leaving for personal reasons; her in-house design team will be responsible for the Fall 2014 collection. Even though I liked what Simons did for the brand better than what Sander did herself, it makes more sense to me if the person whose name is on the label also actually designs the clothes. So I don’t know what to think of it. I guess, let speculation about who will replace her begin.

_ARC0313.450x675jil-sander-spring-2014©style.com

What to make of this editorial, shot by Torbjørn Rødland for the FW 13 edition of Double magazine? What is going on? What makes the pictures so disturbing? Sure, there are the creepy bodybuilders, the children, the childlike women, the strange setting, the voyeuristic men and their cameras and the strange imbalance of power between the characters. Well, you tell me, I just know that the pictures stopped me in my tracks, if only because they show something unusual and noncompliant.
(Note: The three “lying” pictures are supposed to be like that and weren’t accidentally posted in the wrong format.)

Torbjørn Rødland for Double_2 Torbjørn Rødland for Double_3 Torbjørn Rødland for Double_4 Torbjørn Rødland for Double_5   Torbjørn Rødland for Double_8 Torbjørn Rødland for Double_9 Torbjørn Rødland for Double_10 Torbjørn Rødland for Double_11 Torbjørn Rødland for Double_12 Torbjørn Rødland for Double_13 Torbjørn Rødland for Double_14 Torbjørn Rødland for Double_15 Torbjørn Rødland for Double_16 Torbjørn Rødland for Double_17 Torbjørn Rødland for Double_19 Torbjørn Rødland for Double_20 Torbjørn Rødland for Double_21 Torbjørn Rødland for Double_22 Torbjørn Rødland for Double_23 Torbjørn Rødland for Double_24 Torbjørn Rødland for Double_25 Torbjørn Rødland for Double_26 Torbjørn Rødland for Double_27  Torbjørn Rødland for Double_29 Double No.26 FW 13.14 Torbjørn Rødland for Double_30 Torbjørn Rødland for Double_31 Torbjørn Rødland for Double_32 Torbjørn Rødland for Double_33 Torbjørn Rødland for Double_34  Torbjørn Rødland for Double_36   Torbjørn Rødland for Double_39 Torbjørn Rødland for Double_40© Double magazine

Double No.26 FW 13.14
Torbjørn Rødland: Interpretive Studies
Styling: Émelie Kareh
Featuring: Avery Tharp, Julia B, Brian Redmon, Nicholas Valesco, Denise Schaefer, Ian Roberts, Bill McAleenan, Julia Skova, and Roger Browne

During a residency at the Center for Photography in Woodstock, New York, the artist Endia Beal took a group of middle-aged white women to a black hair salon. There, they were given a hairstyle typically seen on black women. After being styled, the women were photographed in a traditional corporate portrait.
The idea for this project came to Beal when she was working in a computer lab at Yale. Sporting a large red afro herself, she heard that many men in the office wanted to touch her hair. Her art project originates from this experience and wants to open discussion about different race, gender and generations. Beal raises questions about how we see ourselves, especially in the corporate world, as the ideal corporate appearance remains, in most cases and even for white women, the white male with his power suits.
For this series, she specifically wanted to work with women at least in their 40s: “I wanted people that had a certain idea of what you’re supposed to look like in the workspace, because it would be a challenge for them to understand what I experienced in that space,” she said. “ And to a degree, many young white women have shared that experience, but for older white women it’s an experience they haven’t necessarily had.” She added that the project is all about taking a risk, stepping out of your comfort zone, and trying out a new experience. Besides the physical opposition between a white woman and her black hair, the most compelling aspect of this work are all of the complicated histories, assumptions, silences and transformations that make the viewer see this issue as a discrepancy in the first place.

AnnAnn BethBeth CharlotteCharlotte ChristinaChristina ChristineChristine EllenEllen LynnLynn ©Endia Beal

The Ardorous is an online art platform showcasing feminist projects of female creative professionals curated by Petra Collins. Arvida Bystrom is one of the artists featured on the site; her photo series “Lolita” show young girls portrayed in the usual dreamy fetishizing manner very often found in fashion magazines and as described by Nabokov himself in his eponymous novel. Bystrom’s pictures have a subversive quality in the undesired and unsightly body hair that hasn’t been shaved as is usually the expected norm.
emma emma2 emma3 emma4 emma5 emma6 emma7©Arvida Bystrom