In June 1999, Alexander McQueen’s Spring/Summer 1999 collection was the subject of the V&A’s very first Fashion in Motion live catwalk event. In this film from the time, the visionary designer discusses his relationship with the Museum and the public’s reaction to his designs.
Fashion in Motion is a series of live catwalk events presented at the V&A. Featuring some of the greatest designers of our time, Fashion in Motion brings catwalk couture to a wider audience by modelling it against the beautiful backdrop of the Museum.
You come from just everything around you, it’s a state of mind, it’s the state of society today. You know, I can’t be so literal with my references. I think it’s a number of references culminating together to make one idea.
It’s mainly to do with the end result as an image, and hopefully a lasting image. You know, I don’t like throwaway images, I like things to be stuck in the mind of people. Maybe that’s why my work can sometimes come across as aggressive or violent. Because maybe the world to me is a bit violent.
It’s so big. It’s the sort of place I’d like to be shut in over night. With no tourists…. [laughs} sorry.
When I was at St Martins, studying for a masters degree there, I used to go in there at least once a week to go through the archives. I remember going through rooms to set up the exhibition, and there was things I’d never even saw before. Like colossal statues.
They say “you can’t wear it down Sainsbury’s can you?” is the usual comment. I think they’ve got to really understand that as a designer, it’s not just about what you see on everyday people, its about furthering people’s imaginations into shape, proportion and colour.
For me, my basis for anything I do is based on a craftsmanship, be it tailoring. be it woodwork, or be it anything else, you know. I try to involve a lot of hand-crafted things.
It would be nice to get it across to the general public exactly how a metaphor turns into a reality. Look at the silhouette and think about days before, days in the future, you know, just try to think not so closed-visioned really.
I think the people who see the clothes, see the video and see the mannequin on the turntable just taking reflection that if I gave you Marks and Spencers would you look twice? That’s fashion really. Fashion turns at such a fast pace, that I think you’ve just got to have a bit of an open mind and not be so judgemental, I think. Just educate yourself into the world of Alexander McQueen [laughs]
Nixon brings together larger-than-life surf legends Herbie and Nathan Fletcher for a road trip down memory lane in a new short film entitled Peninsula South, where the father and son team head down to Baja and revisit some old haunts from previous adventures. Director Riley Blakeway captures Herbie’s pioneering spirit and the close-knit relationship he has built with his son Nathan as they set out on an expedition they’ve not made together in over twenty years, reignites both their love for Baja and their deep appreciation for one another. By the late 60s, Herbie had already begun exploring Baja in search of un-crowded lineups and adventure. As his life moved forward, he built a family who share his love of travel, and who have joined him countless times to explore the fickle southern peninsula. On this latest mission, Nathan discusses his father’s contagious, childlike enthusiasm for surfing and life, and shares how he hopes to pass those ideals down to the next Fletcher generation. See more at nixon.com/baja
Featuring Nathan & Herbie Fletcher
Directed by Riley Blakeway
Cinematography by Riley Blakeway & Matt Wybenga
Original Music by Sasami Ashworth
Archival Footage by Herbie Fletcher
Produced by Mike Murciano, Terry Snyder & Adrianna Bonilla
Music Performance by Joo-Joo Ashworth
Music Engineering by Lena Simon
Art Director Terry Snyder
Executive Producer Tom Jones
This short film is based on the writings of naturalist, author and environmental philosopher John Muir. It is a an ode to wilderness, and was filmed in the Scottish Highlands.
For more information about the John Muir trust visit johnmuirtrust.org
German airline Lufthansa takes us on a journey to the surreal volcanic landscape of Kagoshima in a new film inspired by “Heimweh”, a melancholic feeling of longing for a place. We follow the Inoue brothers, who grew up in Denmark but feel an innate connection to their parents’ homeland of Japan. Read more on NOWNESS – bit.ly/2deCs8n
The exhibition view of “Koki Tanaka: Possibilities for being together. Their praxis.” at Contemporary Art Center, Art Tower Mito, Japan, 2016
documented and edited by ARTISTS’ GUILD.
courtesy of Contemporary Art Center, Art Tower Mito
Participants: Ayaka Kurumada, Emi Shuto, Hiroko Takii, Han Tong-hyon, Yoshihito Tsujimura, Junko Odagi
Facilitators:, Daisuke Awata, Ai Kano, Yoshiko Kasahara, Andrew Maerkle
Director of Photography: Hikaru Fujii (ARTISTS’ GUILD)
Sound and Sound Editor: Ryota Fujiguchi
Camera Operator: Shinya Aoyama
Boom Operator: Tomoya Takashima
Curation, Filming Coordination: Yuu Takehisa (Contemporary Art Center, Art Tower Mito)
Coordination Assistants: Eri Koizumi, Mizuki Usui (Contemporary Art Center, Art Tower Mito)
Assistant to filming coordination: Hitomi Ito
Assistant to filming: Aya Miyazaki
Logistics: Takashi Hirokawa, Yohei Terakado, Daizo Fukushima, Yasuo Kawamata (Art Tower Mito)
Prop: Toshihiko Arimoto (HIGURE 17-15 cas contemporary art studio)
English Subtitles: Dean Shimauchi Translations, Naoko Hamaoka, Masahiro Ochi
Production Cooperation: Vitamin Creative Space (Guangzhou)
Filming Equipment Support: ARTISTS’ GUILD
Reading Workshop Text: Shigeru Matsui Toki no koe (The Voice of Time)
Special Thanks: Aoyama|Meguro (Tokyo), Shigeru Matsui
This project was realized for the occasion of the exhibition “Koki Tanaka: Possibilities for being together. Their praxis.” at Contemporary Art Center, Art Tower Mito, Japan, 2016.
Although Goose Creek Tower appears plucked from the pages of a children’s book, Phillip Weidner’s home is anything but fictional. When he’s not working as one of Alaska’s top trial attorneys, this DIY architect is building his “poem to the sky.”
アラスカの弁護士Phillip Weidnerが15年をかけてつくり続けてきた、木造家屋を積み上げたようなタワー「Goose Creek Tower」を紹介。
The fall colors in the northeastern part of the United States are such an incredible thing. I had never seen them before so this year I decided to finally make a trip out to the east coast for the changing colors of fall. I rented a car and drove through every state photographing the fall colors. This video is a collection of footage I got while traveling in New York, Vermont, New Hampshire, and West Virginia.
Shot on: DJI Phantom 3 Pro
Edited with: Adobe Premiere Pro
Music: Licensed from AudioJungle
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Did there is a connection between Architecture and Cinematography ?
This is the question the movie tring to enter.
Days of Zucco is a short film which aims to provide a comparative reading of architecture by cinema.
It is an “architectural fiction” and is governed by a number of codes:
– The scenario of the film follows the specificity of the building, its form and its program.
– There is no other decor than the inside or the outside of the building.
– The building and architectural discourse are in the second narrative level.
– The human stories are the wire scriptwriting directors
The film reuses graphics code architecture to enable them to switch in the collective imagination. They help provide a new reading spaces in which the character evolves.
Days of Zucco tells the day of a man of thirty year within a building: the Vertou cultural center in the suburbs of Nantes designed by architecture firm Fernandez and Serres.
This one was winner of the Equerre d’Argent (the equivalent of OSCAR for architecture).
At first responsible for providing legitimacy to make a film about this amazing architectural project, the script of Days of Zucco has evolved so that the film is sufficient in itself, is no longer the only image of the building but it becomes a new object, autonomous.
with Thomas Barraud
DP: Vincent Toujas
Music: Etienne Lautrette
Sound: Bastian Paumier
HMC: Noémie Laborde
Régie: Alexis Dovera et Maryse Renker
English subtitles: Annabel Bacle
Spanish subtitles : Lilian Marchand et Reyes González