Adam Bryce

Website — http://slamxhype.com

Latest Posts

Sony Ultra-Compact Digital Camera with DSLR lenses

February 24th 10, 1:09

Sony are the latest camera manufacturer to continue to blur the line between compact camera’s and DSLR’s. Combining yet again the need for small scale portability and high level quality of Digital SLR’s. The Camera will also be able to capture HD video.

Info: Designboom
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Hedi Slimane Interview

February 24th 10, 0:47

Hedi Slimane gives his first interview in some time as part of style.com’s The Future of Fashion series. The interview touches on the reasons for Slimane’s movement to activities outside of design, as well as the internet’s impact on fashion, a topic close to our hearts, getting an insight from the likes of Slimane is more than we could have asked. Read the extracted interview below, courtesy of style.com.

How do you think technology—tweeting, blogging, social media, etc.—has affected fashion? For better or worse?

It has affected different aspects of fashion tremendously. From commentary to fashion design, communication, and distribution.

The fashion Internet community is like a global digital agora tweeting passions and opinions. Anyone knows better, and each one is a self-made critic.

This is a fascinating idea, as I always favored amateurism (”the one that loves”) over professionalism, attraction over experience. It obliges anyone in the industry to think in a fresher way.

Of course, it is hard to say if any “authority,” someone like Suzy Menkes, might one day come out and use digital means to lead with integrity, enough background, outside of any conflict of interest.

On a design perspective, it has allowed any young designer or indie brand to get an instant audience, if used with wit and invention.

I am not quite sure of the future of retail as we know it. This is a truly important thing, maybe the most important one, as it might already mean there is nothing standing between the design and an audience/consumer.

Finally, the better and the worse have always been part of fashion, with the Internet only magnifying it and creating a joyful and noisy digital chaos.

The bottom line is that any note can create music. It is only a matter of taste.

You photograph for magazines, but you also have a strong presence on the Internet with your Web site. Do you see a difference between the two mediums in terms of the presentation of your work?

They complete each other.

The Internet is about immediacy. Besides, I also operate my Web site directly, as I can decide if I want to post a story or reportage every day or every month. I also generally have a more complete edit on my Web site, after publication.

That said, I do love the strict frame of magazines, and to tell a story in an edit of ten or 12 pages, or to sum it up in a cover. It is a discipline.

Can you envision a day when digital media will replace magazines?

I totally do, and I don’t see it as a bad thing. You don’t fight but embrace a natural evolution, really, and try to figure out how it would reveal new creative fields within global access, and multimedia features.

The Web site magazine will come way before the print version in the next decade. I don’t see any way around it, really. With the rise of the Internet, fashion did become part of the global entertainment industry in the last ten years, and will follow the digital evolution of the music or film industry.

Besides, immediacy is better than old news. The “manufacturing” process of a magazine is far too long for this world, for the definition and idea that fashion is about “right now.” I guess it is more about “right now” now than ever before.

That said, fashion magazines, glossy magazines still use their Web sites for daily news and information only. I trust it might be interesting to invest strongly in art direction, besides hiring top editors, top photographers, and top models, which is hardly enough for Internet pages.

Quite certainly, the Web sites of the magazines will have to move away from the “blog” format and create an inspiring, tight template for their photo productions or editorial content, a Web site that has the [same feeling of] luxury and glamour as flipping through a heavy glossy magazine.

It is interesting to think how someone like Alexey Brodovitch would have investigated this medium to create typography and layouts in motion. It is now an open field for a new generation of editors in chief and art directors.

I hear one of the reasons for the lack of investment is advertising, although I trust advertising would follow immediately, if provided a reassuring image template for their costly ads.

I finally believe the printed magazine will then become a collector’s item, and hopefully a reference to be kept preciously.

Therefore, the commercial issues of advertising credits might move toward the Internet, [while] the most inspiring fashion stories could become exclusive to the printed collectible version.

Are you excited about some of the new digital developments—the iPad, better implementation of video, etc.? Do you think they will influence your work?

The iPad needs to catch up with Flash before I put a hand on it. This is really strange; I guess it is still in progress. Of course, this is only showing how many endless options are left wide open for Web sites, and how it will change the entire industry. It is totally exciting. On a different note, I still think video is a specific tool and does not replace stills. It is yet another interesting image-maker.

Do you currently use digital methods in your photography?

I don’t like to think in a nostalgic way, unless digital photography was doing a lousy job, which is not the case anymore. The truth is that I am using whatever tool I am given, and I’m happy to try what comes next. Besides, what’s relevant is one’s vision, really. At the end of the day, a piece of glass and a can is all you need to do a photograph, prehistoric-style. The most important thing besides technology was always to create a visual lexicon of your own, an accumulation of signs that immediately spell your initials. It is, of course, true for any creative field.

What are the creative rewards of photography? How do they differ from the rewards of fashion design?

Immediacy, independence certainly matter. I don’t need to be stuck with my flannels in a studio; my team is not permanent, so that I don’t have to deal with too many headaches and get distracted. But that said, I do love flannel, so I photograph it. This is why I organically went from fashion design to fashion photography, ending up using the Internet to pursue my ideas for fashion. It is like switching to a different language—not that it affects anything I have to say.

Some people are questioning whether, in an era when information is disseminated so quickly, fashion shows still matter.

As someone who has been both a participant and observer, do you think fashion shows are still an important and effective method of presentation?

I understand the options, but there is something else besides information.

Fashion somehow, for me, is purely and happily irrational.

I like the ritual, the liturgy of a well-crafted, emotional fashion show. I will never be jaded with this side of fashion. The “catwalk” is pure anthropology, something like an esoteric encrypted parade. It can totally be replaced but it will be missed.

Archaisms do have some reassuring charms, unless the Internet is used creatively, and in a poetic way.

The problem is also the number of brands that insist, for vanity or desperation and beyond common sense, to squeeze into the endless fashion weeks of the world for the wrong reasons.

Some of them would benefit from different methods to present their collections.

Can you envisage a different method of presentation than a fashion show? Perhaps involving video or photography?

Of course, anything can be done, really, and the Internet technically allows any possible medium. This also means you can design anywhere.

It is an interesting idea, no matter where and how. “Equality” could come with a random Web address, although sadly some www. addresses are more equal than others.

Between menswear and womenswear, resort, pre-fall, and ready-to-wear, some designers are designing eight or more collections a year. Is it possible for a designer to be creative under those circumstances?

Designers end up needing a full-blast studio for this sort of thing, which is totally absurd. I also don’t understand what the hell people do with all those clothes. Less would be better, and shorter collections. Again, e-commerce might change this costly and overwhelming fashion avalanche.

Three of the strongest fashion design talents—Hedi Slimane, Helmut Lang, Martin Margiela—are currently pursuing other interests. Is that a coincidence or does it say something about the current state of the system?

I cannot really speak for them. I guess we all have enough time to experiment with different things. That said, fashion, what you call the system, has become quite used and abused with conflicts of interest.

The advertising game between the media and fashion houses might have gone too far. The meltdown did not help, to say the least.

As far as design is concerned, scaling down would help a lot. The global economy meant partnerships, and partnerships in the last decade came with some risks.

But there is something ironic, an absurd ending, a justice after all. What became of Helmut Lang or Martin Margiela without them?

The irrelevance of buying young brands, [that are] ten to 20 years [old], without their original designers is quite striking. I always assumed, after all, it was about authenticity. Buying those houses ends up a conceptual and costly gift with nothing left inside but a few recipes.

Is the commercial pressure on designers today too great?

I don’t know about this. I am concerned about the relevance of strategy.

Selling is a positive thing. Of course, the overhead of many global houses is so huge that the pressure is great. I don’t mind the pressure at all; it is stimulating. I mind the lack of a long-term vision, and the lack of sense. It has to make sense, no matter the size of a fashion house.

Which designer or designers working today do you most admire, and why?

I have a great admiration and tenderness for Azzedine Alaïa. I haven’t seen him in a while, but I guess he must be still sewing some dresses at night.

The silhouette you proposed for men at Dior Homme is in many ways still the dominant silhouette today. Are you surprised by how long it has lasted? Do you see it changing?

I started to work on my silhouette since the end of my Saint Laurent years, when I had the option to pursue my own style. I also started it because it was the only thing that would fit me, to be totally honest.

I became very repetitive with it over the years, as I was trying to define it accurately.

I always thought it was all about repetition, and I became extremely stubborn despite my opponents and the natural aim of the fashion industry to look for something new each season. I never wanted to please, as long as I could follow my beliefs. I always and only thought about my own time and the birth of an entire generation.

I heard so much about my proportions, and how absurd and unsuccessful, for instance, my skinny jeans and silhouette would be. I also heard about my lack of definition in masculinity, as I was aiming to try another definition. I also was questioned about my attraction to music, as I still believe there is no fashion without music. Marie Antoinette knew better when she fetched Gluck to Versailles, to try her new wardrobe on the dance floor. Nothing will ever change. Fashion = music + youth + sex. This is what my menswear and my style were always about.

Besides the proportions, it was about an allure, a certain movement.

I always believed the way men or women wear clothes (le porté, in French) defines fashion, and funnily enough, through history, furniture design.

So that it was never a “fashion comment,” as I was interacting directly, and still do on my own, with unknown musicians, artists, street casting for my shows. It was not about doing punk rock or metal when punk rock or metal had no relevance to the moment. My fashion and my style were like a random and sometimes intimate diary. Living in Berlin, I interacted with the music scene at a time when Berlin was aiming to set up an abstract and ethereal digital tone; my years in London happened to be the time when a new indie scene emerged among my friends. There were no clothes available around, so I designed them for the rest of us. These are the clothes we wanted to wear, and these are the clothes, allure, and style that ended up my own.

The rest might by now be common knowledge. With Berlin becoming suddenly popular and the global indie scene explosion a few years after, my style spread accordingly.

Funnily enough, when I decided to put design on hold for a minute, it was all about how skinny was dead and how men would suddenly flip in the other direction. It ended up the contrary.

I just finished a report on this emerging movement I ended up being connected to called Jerking. It was born in Long Beach, Los Angeles, in late 2008 among black teenagers in high school. They call it the Skinny Jeans Movement and have songs like “I ROCK SKINNY.” They developed this creative community through social sites and found their style on the Net. The skinny look came first among them, then the music, inventing a broken-beat dance. As always, the music majors just spotted them and signed them one after the other. It is a really refreshing and joyful rap collateral movement. The project I did on jerking, jerk crews, and musicians will be online in a few days I guess, and Vogue Hommes Japan will publish some of it this month, as an introduction I guess. This movement is only starting, really, and it might spread over the global high school, with an avatar of my style in the broadband.

Now, from the streets to fashion week: I still have loyal assistants at Dior. I guess my shows had a specific atmosphere. Despite the necessary press rhetoric, the silhouette is still there, but more so my style and semiotic, used as an open-source commodity. It is quite convenient for me, as I don’t have to be in the kitchen anymore.

So, to answer your question, surprised I might have been, but is it going to change anytime soon?

Time will tell.

Read the rest of the interview here.
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Ron English “How to Explain the Art World to a Dead Hare” Video

February 23rd 10, 22:23

Ron English’s “How to Explain the Art World to a Dead Hare” Video is the popoganda artists own version of Joseph Beuys’ iconic 965 performance art piece, “How to Explain Pictures to a Dead Hare”. This short film was filmed during the filming of Ron English’s new film “The Emperor’s New Art.” We’re looking forward to the full length film.

Joseph Beuys in 1965.

Thanks to HS for the heads up on the video.
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Takashi Murakami “Akihabara Majokko Princess” with Kirsten Dunst

February 23rd 10, 20:56

We first heard of this video by Takashi Murakami and McG “Akihabara Majokko Princess” featuring Kirsten Dunst a while back, and then we managed to quickly grab a glimpse before it was removed from Youtube yesterday, but its back. The video was made for the Tate Modern’s Pop Life exhibition and features Dunst dressing up and singing along to that all too popular song “Turning Japanese” around the streets of Tokyo’s Akihabara district . Take note of the guest appearance of Murakami himself and Nigo.

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WK Interact “Never Sleeps” for Jordan Brand – Dwayne Wade

February 23rd 10, 18:30

WK Interact has worked with Jordan Brand to showcase their biggest talent, Dwayne Wade, on the streets on Manhattan, not only utilising the artists signature painting style but also his natural canvas. Take a look at the video below to see more.

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Kostas Seremetis “TRILOGY” Film

February 23rd 10, 17:23

Kostas Seremetis presents his latest works in the format of a film entitled “Trilogy” being shown on March 7th in Morocco. The New Order Issue 3 cover star has brought his unique take on Pop Art to the big screen, and we can’t wait to see what else he has in store for us.

The Cinematheque de Tanger is proud to present a Master Class with participating New York artist, Kostas Seremetis presenting his film “Trilogy”. March 7th 2010 19:30

“TRILOGY”
2009 / 126 mins / by Kostas Seremetis

A moving visual and aural collage consisting of the Star Wars Trilogy, artist Kostas Seremetis edited this 126 minute film, taking the right third of Star Wars, the middle third of Empire Strikes Back and the left third of Return of the Jedi, synchronizing them to dissonant effect. Every frame is a study in Abstract Expressionist Pop art as
this moving collage of the most iconic films of our time moves to the sounds of the three films playing simultaneously. Characters move in and out of portions of the screen, ships and battles appear and disappear melding into one part of the screen from another part while the third portion of the screen portrays a crucial moment of discovery in a character’s development.

This invitation-only screening will be preceded by an introduction by the artist and followed by a discussion of the film.

Stay tuned for coverage and more info on when the film can be seen by the public.

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Present X Trickers Derby Brogue Shoe

February 23rd 10, 12:32

London Store Present is home to one of our favourite Trickers collaborations, and whilst we normally have a pretty sticky rule about not posting re-stock, if you’re anything like us, we thought you’ve probably been waiting impatiently for Present to re-stock their shelves with these Trickers Derby Brogue Shoes. Check out all the colourways, high and low here.

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Banksy “Exit through the Gift Shop” Pop Up Cinema

February 23rd 10, 12:14

If you were wondering how you would get to see Banksy’s much anticipated “Exit through the Gift Shop” film, Banksy himself has made that possible for those of you in London by creating a purpose built cinema. Screenings will run daily at 6pm and 9.30pm till March 4th. Ironically however spray cans must be checked at the door.

Tickets are available here.
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Kobe Bryant by Terry Richardson

February 23rd 10, 11:57

Terry Richardson photographs Kobe Bryant for the latest issue of GQ. Richardson continues to produce some of the most iconic imagery of our time and this shoot is destined to go down in history. Check out the photos for yourself, the spread is found in the March Issue.

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Raf Simons X Sterling Ruby 2010 Spring/Summer Collection

February 23rd 10, 11:43

Raf Simons and Sterling Ruby have combined to release a capsule Collection for 2010 Spring/Summer. The Los Angeles based artist is best known for his large scale spray painted canvases, and at the very least you should know if him from O.H.W.O.W’s and Kathy Grayson’s New York Minute show of last year. The artist who recently created a unique installation at Raf Simons Tokyo Flagship Store, follows the same theme through this collection.

Images: HS
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Ransom X Adidas Valley High

February 23rd 10, 3:26

Ransom and Adidas Originals continue to collaborate on capsule collections each season, with great success. Ransom have found a way to bring a unique and new touch to the originals range, and this new adidas Valley High is one of our favourite yet… Available in a number of colourways expect the shoe in stores soon.

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Robert Geller Pop Up Store | New York

February 23rd 10, 3:16

Robert Geller opens his first Pop Up Store in the brands hometown of New York in collaboration with retailer Assembly. Located at 129 Rivington Street, the store opened last weekend and showcases the all new Spring/Summer 2010 collection, until April.

Check out the Spring/Summer 2010 collection here.
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Damir Doma Silent Interview

February 23rd 10, 1:10

Damir Doma’s first Silent collection is due out around the world in the next month. A diffusion line from one of the most exciting designers of the past few years, focussed on basics, that are affordable and complement the Croatian born designers unique and trendsetting aesthetic.

Has fashion always been your passion? What did you want to be as a child?
I grew up in a family of creatives. My mother is a fashion designer and I grew up in her atelier. Fashion is in my blood!

How would you describe your design aesthetic?
I guess I have a quite artistic approach to fashion. When I think of a piece of clothing I imagine it as a sculpture. I love when clothes start to move, when clothes start breathing! For me each piece is 3 dimensional like a sculpture, which people sometimes don’t take in consideration. I check all my pieces from every angle and perspective. I always ask my models to walk with the clothes and move because the movement of an outfit can be a magic and sometimes very majestic moment! At the end of the day I see myself as visionary, an explorer. I also think that my aesthetic is actually quite puristic and sometimes even minimalistic!

Where do you find inspiration for your collections? What comes first, the sketches, the fabrics? Is it important to stick to a few set rules and if so, what are yours?
I have a very clear vision. I create a concept for the collection concerning shape etc and than try bring it to life. My base is always the material, and depending on the material I create certain shapes. One of the most important moments is the first reflection of the last collection! I always try to improve things and develop them further until they reach the level of perfection if possible. Once I built up the core of the collection and the concept pieces etc, I strip them down and structure the whole collection.

In what ways was menswear the logical starting point? Does designing for women offer different challenges or do you approach both with the same mindset?
Starting menswear was just easier at the beginning as I design it for myself! And this is also the biggest difference between men’s and women’s! I first had to create the Damir Doma woman before I could start creating the clothes and I had to think about the character of the DD woman. My woman is proud and strong character and at the same time she has a very fragile and sad side. She is even a bit morbid! I imagine a priestess or a goddess when I design the collection!

How was SILENT born? Is the line’s philosophy different from your main line?
Silent is an extension of my own collection. I see all things I do as a whole! Everything is connected and there is a reason for everything! At a certain point I felt that there is product missing that are more pure and minimalistic. At the same time they needed to be real! I didn’t want to make some kind of crappy second line as most of the other designers do! I wanted to create a new collection that has its own character and philosophy within my world.

To what extent do you believe a designer should take practicality and affordability into consideration when designing a garment?
I see myself as a creator, not just a designer! I believe my strongest point is my vision! I have a philosophy; I don’t just design nice products, which makes the difference. My priority as a creator is to express my artistic vision and build my own universe. I also think that it is very important to be structured and to give structure to the collection. I’m aware that some of my creations are not easy to wear for everybody that’s why I stripe down some pieces until they get more accessible. This is so important to understand otherwise there will be no commercial success and without good sales you can’t survive. Nevertheless the most important thing is the vision and the focus on the creation.

Having stood amongst the crowd outside Garage Turenne I realised just how much the fashion industry and the fashion fans love you; how do you feel about this massive success?
I feel just lucky! I think fashion is about change! People are looking for a new direction. Maybe they are sick of the post Hedi Slimane and Rick Owens era? I’m just proposing something and apparently my vision is strong enough to make people think and rethink the way they are dressing! My work is real and people can easily feel that.

Where do you see yourself in a few years? What is next for SILENT?
Basically I want to create my own universe and show it to many people. I want them to be part of it. Silent is going to be a fantastic collection! I’m collecting ideas for products and by and by we’ll grow silent to a full range collection including wovens, shoes, bags etc!

Check out images from the upcoming debut SILENT collection here and here.

Interview extracted from Swide.
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Supreme Nunchucks w/ Video

February 22nd 10, 22:15

These Supreme Nunchucks are the newest release in a long line of lifestyle products, for want of a better term, without doubt the most violent yet, but just as likely to become a real collectable. Available alongside the upcoming Spring/Summer Collection, previewed here.

See the Nunchucks in action below.

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Style Feature | 22.02.10

February 22nd 10, 14:25

We live in a mobile world today, where we work on the road, travel from place to place, and you need to be prepared for all terrains and weather, at the same time you want to feel luxurious and smart.

1. Dunhill Single Breasted Mac | Matches
2. Lanvin Shirt with Ribbon | Matches
3. Porter Narrow Boston Bag | Beams
4. Lanvin Metal Mix Cotton Trouser | Matches
5. a.coba.lt Sheep Leather Trekking Boot | Oki-Ni
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Adam Bryce

Latest Posts

Sony Ultra-Compact Digital Camera with DSLR lenses

Hedi Slimane Interview

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