Joan Didion; On Self-respect

"...Character - the willingness to accept responsibility for one's own life - is the source from which self respect springs."

Cupcakes & Kalashnikovs
I cannot thank Tanya Gold enough for this recommendation.

Happiness

Happiness

 

As humans, many of us carry around a fundamental dissatisfaction and boredom. This feeling may not be often, but at some time or another we feel that life is just a bit flat.

We all have different ideas of what happiness is. Some believe it’s a successful career, starting a family, or even buying an expensive new car. So why is it when we achieve the things we believe are the route to our happiness, we still carry a sense of displeasure? Are we looking for happiness in the wrong place?

In a recent survey of 200’000, 70% of people in the UK said they were generally pretty satisfied with their life, although this was matched with 60.1% who said they often felt anxious. Overall, life satisfaction in the UK has dropped since 2007-2012 from 7.15-6.89 out of 10. So what is it that lingers over our happiness?

Psychologist DR Gordon Livingston says, “in the modern world we think happiness comes from the outside. For example obtaining money or status gives us pleasure releasing Neurochemicals. Behaviours that produce these chemically-induced feelings are then reinforced and repeated which explains why many of us believe happiness is driven by things such as money or power.

Student Sophie Holding, 21 says, “I often feel pressure from family, tutors, and friends who have expectations of me to pass university, go straight into a career, drive the latest car, to wear the trendiest clothes. As we get older the expectations only seem to get higher. Even when I have achieved a high grade, saved up to buy my own car, or even bagged an important internship, there is still this lingering of worry/doubt in the back of my mind as if there is something else I need to do.”

Livingston “The standard of living has increased over the past 50 years and we often find ourselves comparing/competing with those who appear to have it ‘better’ than us. However unhappiness is actually largely driven by the thought chatter in our minds. Our urge to draw attention outside ourselves in instinctive and we are vaguely aware of doing it. When our minds are not distracted we feel uncomfortable and more often than not we generate unnecessary worries and doubts making us feel dissatisfied.

So how can we learn to control this thought chatteris we aren’t even aware of doing it?

• Dwelling over past situations/memories
• Worrying about the future or distant plans
• Visualising our fears
• Creating negative scenarios however realistic/unrealistic 
• Involuntary thinking – compulsive inner monologue disturbing our peace
• Over analysing situations/people/reactions

 

Livingston, “Controlling thought chatter can’t be done overnight but there is definitely a way out. Once we become aware of our thought chatter, we can learn to control it:

·         Reduce your dependencies on distractions such as Television/internet and learn to rest inside your own mind.

·         Change the negative tone of your thoughts by replacing/challenging them with positive ones

·         Meditate for 20 minutes a day, or involve yourself in other ‘meditative’ activities such as running, swimming or even being in contact with nature.

Once we begin to find peace the in our minds and experience contentment, we can begin to appreciate the things we have rather than compare/analyse them with others.”

 

David Bowie is... Exhibition review

DAVID BOWIE IS

Walking into the Victoria and Albert museum, passed the the John Madejski Garden, you feel a sense of elegance and class. The Italianate courtyard shines through on to the significant marble interior as you queue to enter the fastest selling showcase in V&A history. People wait eagerly, shuffling along in their groups/pairs to access the in-depth world and mind of one the world’s most influential and interesting figures within popular music and fashion. The renowned visionary has always been more than a one-dimensional artist, expressing his intellectual complexity, and freedom, shaping movements in art and design, fashion and pop culture through his creative innovation and individualism.

 ‘I am thrilled to be involved with ‘David Bowie is’, I have always strived to support genius’ – David Sennheiser, President of the V&A.

Upon entering the first passage in to the exhibition, the whispering and conversing whittled down to something near silence as you are greeted with headsets and ‘sound of vision’ booklets. ‘No photography or Sketching’ boldly written signs, encrypts the intense exclusivity of such event, that’s secrets is to be unshared to those outside the four walls – an unknown covert to those yet to enter. 

The lights have lowered; the ambience of the room is soundless as the headsets automatically play some of Bowie’s famous tracks whilst you stand to admire the first display. Centered in a haze of white light, is the star’s alter ego ‘Ziggy Stardust’ and his eminent and outrageous striped bodysuit for his Aladdin Sane tour 1973. Poised proud amongst the crowd of spectators, the Kansai Yamamoto design highlights Bowie’s embrace for Japanese culture – ‘Kabuki’, ultimately meaning ‘song, dance and art’. Yamamoto was the first Japanese designer to unveil a fashion show in London ever. Bowie attended the catwalk event and was instantaneously fascinated by his avant-garde contemporary designs. The bodysuit has you hypnotized with its metallic wave frequency being emitted like the Doppler Effect. The translucent ensemble is exactly what Bowie imagined when working with designer Yamamoto, ‘outrageous, provocative and hot to wear under the lights’ – David Bowie. 

‘That's the whole thing about Bowie, he's got these antennae, looking around. It represents not just getting into Japanese styles but wanting the most fantastical things possible’, - Geoff Marsh (co-curator of the David Bowie Is exhibition).
A handwritten letter from Bowie himself sits at the forefront of the display, shielded by a glass window like the portrait of Mona Lisa at the Louvre, Paris.  Spotlights strike the shadowy white display, revealing quotes and information, embarking on the journey into the life of Bowie.

‘All art is unstable. Its meaning is not necessarily that implied by the author. There is no authoritative voice. There are only multiple readings’ – wall quote, David Bowie.

A pyramid of oranges, inspired by Roelof Louw (Soul City), is carefully placed under trinklets of tiny spotlights, which from the Ziggy Stardust display, make it hard to work out what the display is – alluring you to take a closer look . The sense of daring that once shocked Louw’s viewers in 1967, has been reignited to contrast not only Bowie’s ideas and designs, but inspiration and passion he found from others. Walking over, the headsets sophisticated inter-linking of different tracks and audios changes. It appears only now that the headphone devices you are handed, helps guide you effortlessly through the exhibit, offering the perfect sound and three dimenional experience possible. Tightly positioned next to the pyramid of oranges, is a small TV screen reciting interviews with Roelof Louw and Bowie themselves. The advanced audio guide and sound system allows you to immerse yourself into the displays without the distraction of the surrounding onlookers, providing you with similar senses to a silent disco.  

‘David Bowie is crossing the border’. Crossing the border indeed – the mood of this room is darker. The only source of lighting is the glow from the red neon sign and various dimmed spotlights shining on the posters, album covers and photo’s hung up on the walls in black and white frames, much like a traditional British pub. A lot of the memorabilia featured, such as vinals from The Beatles, Jimmy Hendrix posters and photography by David Bailey, illustrates the sixties influence set upon Bowie. The white on black placards placed under the mememtos explains in depth the impact each artist made not only on Bowie, but also on their era.

Not far from the beer-house set up is a inaccessible door, offering observers to peer through the peep-hole to expose a hidden insight into Bowie’s impacts – portraying what goes on behind closed doors. The mystery behind the door had viewers lining up to take a glimpse, revealing an empty marble coridoor leading to a outsized statue of Buddah. This stresses Bowies muted interest into spiritulaity, his path to enlightenment and the understanding of reality, emphasing the power his beliefs had on him through-out his life and career.

‘The humanists' replacement for religion: work really hard and somehow you'll either save yourself or you'll be immortal. Of course, that's a total joke, and our progress is nothing. There may be progress in technology but there's no ethical progress whatsoever,’ – David Bowie

Among the outfits displayed, was another costume from Bowie’s ‘Ziggy Stardust’ phase. Entwined between a cave of colossal mirrors is the padded gold two-piece complete with tinges of red and blue. Designed by Freddie Burretti, the two-piece marked a turning point in Bowie's career and the seismic shift in pop culture. The suit worn for his ‘Starman’ performance during Britains ‘Top of the Pops’ TV chart show 1972 was projected onto the scene behind, as well as the outfit being reflected from all angles onto the mirrored walls, floor and ceiling, creating a puzzling illusion as though you were in a funhouse at the circus.  During the time period, the audacious outfit captivated and equally shocked viewers through its intersexual vibe which later went on to inspire others. Bowie’s determination to experimentation and devotion to detail gripped the media’s attention, bringing Bowie to the frontier of fashion in pop and performers.

 ‘I don’t know where I am going from here, but I promise you, it won’t be boring’ – David Bowie.

Ensuing forward through his journey of the sixties and seventies, commanded a room complete with Bowie’s favourite books floating from the ceiling like low-flying birds, embracing Bowie’s hunger for knowledge. Over-sized inspirational novels acted as stages to withhold some of Bowies prominent and significant costumes over his decades as a pop icon. Standing out amongst the varay of flamboyant and daring garments, was the union-jack coat created by late designer Alexander McQueen in collaboration with David Bowie for the Earthling album cover 1997. The classic Britsh design depicts both McQueens strive for seamless tailoring collided with Bowies taste for anarchy and revolutionary punk aesthetic. With its back turned towards the crowd, the mannequin appears to be facing a blown-up personalised letter signed by McQueen addressed to Bowie (David) regarding the sketches and designs of the union-jack coat. ‘David, sketches are coming ASAP – sorry for the delay. I will have you a package wed. Love (Lee).’ This helps portray the relationship and involvement Bowie had with designers when producing the outfits, accentuating Bowie’s close partnership with the people he chose to work with to get the exact look for his songs.

‘I'm pretty good with collaborative thinking. I work well with other people,’ – David Bowie

His theatrical take on costumes and his eccentric use of mime, made Bowie’s performances more art, than pop. Walking behind the foam padded recording studio complete with all of Bowies album covers to date, uncovered a room bursting with ceiling-to-floor screens featuring some of Bowies legendary and extravagant performances through-out his career.  It was here people sat back contently on the black over-sized box seats to reflect and take-in the exhibition. People relaxed to put their feet up and watch the powerful performances of a man whose ambiguous journey led him to become a world notorious icon, not only in the fields of pop culture, but in the grounds of fashion revolution.  

David Bowie is inarguably one of the modern world's highly respected and prominent style icons. His disregard for ‘mainstream’ and outcry for creative control over all his work can be seen in boundless detail though-out the entire exhibit. His inspiration and legacy left on the world of fashion and music is something the likes of Lady Gaga and Beyoncé can only dream of. Whether Bowie was a part of your life growing up, or you’re only just truly discovering him now, you can only expect to come away from the exhibition feeling inspired – and your faith in originality be restored. David Bowie is, the true original.

 

 

 

Fashion editorial shoot with Emma Cooper

BROKEN BRITAIN editorial shoot: Dazed & Confused

Fashion Photography 

 

Inspired by photographers Viktor Vauthier & Serge Leblon

 

 Moodboard for BROKEN BRITAIN shoot

'FASHION IS A PILE OF SHIT'

Pam Hogg talks to Gregor Muir at ICA, London

Fashion is a pile of shit

In an industry dominated by trend, it’s bracing to see a designer rebel against the hackneyed desire to imitate a culture consumed by fashion-conscious slaves to style. Pam Hogg made her debut into the fashion world in the early eighties, taking London to the blitz. She left the industry as quietly as she came, but now the yellow-haired visionary is back, auditing her A/W 2012 collection.  

‘Everything I do is impulse, nothing is planned’, says Scottish born Hogg. ‘I used to go into the city of Glasgow regularly during the early days of my youth, it was dangerous and exciting’. The designer reveals during this period she wasn’t interested in fashion. However, heavily influenced by the rock ‘n’ roll scene; enthralled by boys and bands, she sought to create her own identity, ‘I wasn’t told to, I just wanted to’.  Art came easy to Hogg, she outrivaled at the subject throughout school, never thinking anything of it - ‘succeeding in that industry was always for other people. I was pretty useless at anything else, I assumed I was probably going to be here until the day I died […Glasgow]’.

After attending Glasgow School Of Art, Hogg followed her creative flair, moving to London to consort to the Royal College Of Art. ‘Nothing was ever planned’, says Hogg, a mind-set she still bides by today. Shy at the time, Hogg shares her disappointment in respect to her studies- The Royal College Of Art. It was the London club scene that embodied the next platform in Pam Hogg’s life. It was this crack in the rock ‘n’ roll designers life where she discovered fashion, dyed her hair, and never looked back. 

In a culture that fetishes celebrities and up-to-the-minute trends, Hogg revolutionises the human desire to go against the grain in regards to commercial fashion. ‘I’m more interested in letting my ideas become something, rather than doing a sellable collection – I can do that standing on my head. Instead, I give them a part of me’, says Hogg, who sincerely is her own product.

Initially making clothes to get into clubs, the subversive pre-Madonna caused hype amongst club-goers wanting to know where she got her clothes. Inspired by the Blitz scene and all the ‘amazing people out doing each other’, Hogg made her mark in the industry, and orders were in demand by Harrods and Bloomingdales as well as dressing icons of the era such as Debbie Harry. ‘Everything that excited me was bands, and powerful women [Siouxsie Sioux], I was on a journey and I didn’t know where it was taking me’, says Hogg.

Music still being her first love, the designer didn’t want to live to regret, and left the industry as quiet as she came at the peak of her career in 1992. ‘Music is my passion, but not necessarily what I’m best at...’ says Hogg, ‘…fashion is what I’m best at creatively’. 

For A/W12, Pam Hogg’s iconic geometric shapes are at the foundation of the line. With inspirations drawn from bondage and the power of the female, with infusions delved from her time in the club scene, Hogg’s collection is far from demure. Her label takes a brave, stated approach to its shapes and colours, complemented by elusive incorporations of lace and leather. Hogg has strived to put the unorthodox back on the runway and back into fashion.

If personified, Pam Hogg’s collection would be a naïve, reckless, yet arrogant embodiment, sabotaged by the spirit of youth culture and music.  Interweaving sexual fetish and pop culture with the sensibilities of female empowerment creating a look that fluctuates radically from what might be considered trendy.

Her aim isn’t to produce versatile, trendy clothes to contend with the leading high-end designers, but to push boundaries in terms of fashion culture and create something not because she had to but because she wanted to. ‘I’m freer because I’m only thinking about what I want to create’, says Hogg.

After 15 years of club culture, Pam Hogg decided the ecstasy she gets from her creative zone is the best drug she knows, and therefore entered back into the fashion world with new eyes, still making it up as she goes along.

’15 years off will turn to 15 years on’ –Pam Hogg.

 

Image created by myself - Pam Hogg collage