http://www.cakeit.net www.cakeit.net Sat, 18 Feb 2012 10:16:07 +0000 http://www.cakeit.net en http://cakeit.net/HUNTER-GATHERER http://cakeit.net/following/cakeit.net/HUNTER-GATHERER Sat, 18 Feb 2012 10:16:07 +0000 www.cakeit.net 2828824 PHOTOGRAPHER: BALDOVINO BARANI FASHION DIRECTOR: CHERYL LEUNG @ M.FILOMENO <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7306_640.jpg" border="0" width="640" height="821" width_o="2048" height_o="2629" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7306_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7405_640.jpg" border="0" width="640" height="825" width_o="2048" height_o="2642" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7405_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7471_640.jpg" border="0" width="640" height="828" width_o="2048" height_o="2651" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7471_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/hello_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/hello_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7749_640.jpg" border="0" width="640" height="828" width_o="2048" height_o="2651" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7749_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7678_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7678_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7846_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7846_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8042_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8042_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7929_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7929_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8234FINAL_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8234FINAL_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7964_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_7964_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8388_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8388_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8340_640.jpg" border="0" width="640" height="828" width_o="2048" height_o="2651" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8340_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8589_640.jpg" border="0" width="640" height="426" width_o="2048" height_o="1365" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8589_o.jpg" align="left" /> <img src="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8438_640.jpg" border="0" width="640" height="828" width_o="2048" height_o="2651" src_o="http://payload26.cargocollective.com/1/2/83432/2828824/_MG_8438_o.jpg" align="left" /> Make up and Hair: Karen Yiu Model: Vivien Ong @ Cal-carries HK Furs by Michele Fur from Hong Kong Fur Factory, Broadway Fur HK Hosiery from Ladies Market, Hong Kong Shoes by Giuseppe Zanotti Design{/div} http://cakeit.net/FAREWELL-MY-LOVELY http://cakeit.net/following/cakeit.net/FAREWELL-MY-LOVELY Fri, 06 Jan 2012 12:23:17 +0000 www.cakeit.net 2538354 PHOTOGRAPHER: EMMA SWEENEY FASHION DIRECTOR: SARAH MICHELLE <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2153_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2153_o.jpg" align="left" /> <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2242_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2242_o.jpg" align="left" /> <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2346_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2346_o.jpg" align="left" /> <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2200_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2200_o.jpg" align="left" /> <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2381_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2381_o.jpg" align="left" /> <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2476_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2476_o.jpg" align="left" /> <img src="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2411_640.jpg" border="0" width="640" height="960" width_o="2048" height_o="3072" src_o="http://payload11.cargocollective.com/1/2/83432/2538354/_MG_2411_o.jpg" align="left" /> Make Up: Ciara O'Shea Hair:Elvire Roux Shoot Assistant Katerina Tsovilis Model: Vika @ FM Image 1 Dress, Jean Pierre Braganza Image 2 Dress, House of Dagmar; boots, Kirsty Ward Image 3 Jacket, Carven; pants, Myla; skirt, Kirsty Ward Image 4 Dress, Wolford; bangle and crop top, Kirsty Ward Image 5 Jacket, Jean Pierre Branganza Image 6 Dress and top word over dress, Martina Spetlova; bangle, Kirsty Ward; shoes, LD Tuttle Image 7 Dress, Future Classics http://cakeit.net/A-DAY-IN-THE-NIGHT http://cakeit.net/following/cakeit.net/A-DAY-IN-THE-NIGHT Mon, 05 Dec 2011 09:38:05 +0000 www.cakeit.net 2388835 PHOTOGRAPHER: SYLVAIN HOMO FASHION DIRECTOR: LOLA D'HAESE <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_6284___1_106_CD_640.jpg" border="0" width="640" height="426" width_o="1500" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_6284___1_106_CD_o.jpg" align="left" /> <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_5757___1_105_CD_640.jpg" border="0" width="640" height="959" width_o="667" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_5757___1_105_CD_o.jpg" align="left" /> <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4627___1_103_CD_640.jpg" border="0" width="640" height="959" width_o="667" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4627___1_103_CD_o.jpg" align="left" /> <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4072___1_105_CD_640.jpg" border="0" width="640" height="959" width_o="667" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4072___1_105_CD_o.jpg" align="left" /> <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4816___1_106_CD_640.jpg" border="0" width="640" height="959" width_o="667" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4816___1_106_CD_o.jpg" align="left" /> <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4561___1_105_CD_640.jpg" border="0" width="640" height="959" width_o="667" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_4561___1_105_CD_o.jpg" align="left" /> <img src="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_5250___1_105_CD_640.jpg" border="0" width="640" height="959" width_o="667" height_o="1000" src_o="http://payload4.cargocollective.com/1/2/83432/2388835/_MG_5250___1_105_CD_o.jpg" align="left" /> Make up and hair: Marie Duhart @ L'Atelier 68 Photography Assistant: Bruno Seguer Model: Noelle Kondylatou at Karin Image 1 Leotard, Azzedine Alaïa; dress, Peachoo + Krejberg Image 2 Dress, Kenzo; tights, Yohji Yamamoto Image 3 Bolero, belt and shoes, Azzedine Alaïa; dress, Peachoo + Krejberg Image 4 Dress and boots, Azzedine Alaïa; tights, Yohji Yamamoto; crown, stylist's own Image 5 Coat, Yohji Yamamoto; skirt, Azzedine Alaïa; hat, Christophe Coppens Image 6 Bolero and belt, Azzedine Alaïa; dress, Peachoo + Kejberg Image 6 Dress, Yohji Yamamoto; hat, Christophe Coppens http://cakeit.net/new-faces-THE-CULT-OF-THE-HOLY-INFANT http://cakeit.net/following/cakeit.net/new-faces-THE-CULT-OF-THE-HOLY-INFANT Tue, 22 Nov 2011 10:20:24 +0000 www.cakeit.net 2322577 PHOTOGRAPHER: EKATERINA BAZHENOVA FASHION DIRECTOR: MASHA MOMBELLI <img src="http://payload1.cargocollective.com/1/2/83432/2322577/ella_1_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/ella_1_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/felix_3_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/felix_3_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/jlynn_2_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/jlynn_2_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/paula_1_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/paula_1_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/lindsey_2_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/lindsey_2_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/ella_3_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/ella_3_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/felix_2_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/felix_2_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/liza_3_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/liza_3_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/jlynn_4_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/jlynn_4_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/lindsey_3_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/lindsey_3_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/liza_2_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/liza_2_o.jpg" align="left" /> <img src="http://payload1.cargocollective.com/1/2/83432/2322577/paula_5_640.jpg" border="0" width="640" height="853" width_o="2048" height_o="2730" src_o="http://payload1.cargocollective.com/1/2/83432/2322577/paula_5_o.jpg" align="left" /> Make up: Megumi Matsuno using MAC @ Carol Hayes Management Hair: Michael Jones using Bumble and Bumble Photography Assistant: Maria Gorodeckya Styling Assistants: Stella Gosteva and Sandro Navarro Models: Ella Walsten @ Premier, Felix @ FM, Jlynn @ Union, Linsey Byard @ Next, Liza Serpova @ Premier, Paula @ Profile Image 1 Ella wears: trousers & top, Gareth Pugh Image 2 Felix wears: shirt, Vivienne Westwood Red Label; headband, Jennifer Behr Image 3 Jlynn wears: dress, Yohji Yamamoto; crown, Mouton Collet Image 4 Paula wears: cape, Tze Goh Image 5 Lindsey wears: skirt, Emma Cook; necklace, Ekaterina Pronina; bracelet, Fenton Image 6 Ella wears: jumpsuit, Azzaro; necklace, Fenton Image 7 Felix wears: jacket, Valentino Red; headband, Fenton Image 8 Liza wears: dress, Maison Martin Margiela Image 9 Jlynn wears: dress, Jean Paul Gaultier; crown, Jennifer Behr Image 10 Lindsey wears: dress, Garth Pugh; crown, Assad Mouser Image 11 Liza wears: dress, Markus Lupfer; collar, Darcy Clothing Image 12 Paula wears: top, Yohji Yamamoto; skirt, Vivienne Westwood Red Label; armband, Mouton Collet http://cakeit.net/ENGLISH-LAD-ENGLISH-LASS http://cakeit.net/following/cakeit.net/ENGLISH-LAD-ENGLISH-LASS Tue, 15 Nov 2011 13:22:37 +0000 www.cakeit.net 2283851 PHOTOGRAPHER: HOLLY FALCONER FASHION DIRECTOR: JOHN WILLIAM <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC01_640.jpg" border="0" width="640" height="784" width_o="701" height_o="859" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC01_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/IMG_2629_640.jpg" border="0" width="640" height="784" width_o="2048" height_o="2509" src_o="http://payload.cargocollective.com/1/2/83432/2283851/IMG_2629_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC03_640.jpg" border="0" width="640" height="784" width_o="701" height_o="859" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC03_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/IMG_2478_640.jpg" border="0" width="640" height="784" width_o="2048" height_o="2509" src_o="http://payload.cargocollective.com/1/2/83432/2283851/IMG_2478_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC05_640.jpg" border="0" width="640" height="784" width_o="701" height_o="859" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC05_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC06_640.jpg" border="0" width="640" height="784" width_o="701" height_o="859" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC06_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC07_640.jpg" border="0" width="640" height="623" width_o="855" height_o="833" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC07_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC08_640.jpg" border="0" width="640" height="623" width_o="855" height_o="833" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC08_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2283851/LTEC09_640.jpg" border="0" width="640" height="784" width_o="701" height_o="859" src_o="http://payload.cargocollective.com/1/2/83432/2283851/LTEC09_o.jpg" align="left" /> Make up & hair: Bea Sweet Set Design: Eoin Dillon Photography Assistant: Alex Craddock Models: Harry @ M and P, Sienna @ FM Image 1 Harry wears: jumpsuit, Louise Gray; shirt, Issey Miyake; hair, Mister and Mister Image 2 Sienna wears: top, Natalie Rae Image 3 Harry wears: jacket and top, Beyond Retro Image 4 Sienna wears: blouse, skirt and headpiece, Natalie Rae; earrings, stylist's own Image 5 Harry wears: jacket, Issey Miyake; shirt, Beyond Retro Image 6 Sienna wears: hand painted tunic, Holly Fowler; head scarf, Lucy Jay; glasses, customised by stylist Image 7 Sienna wears: sweater, Topshop Unique; sweater worn as headwrap, Beyond Retro Harry wears: sweater, Beyond Retro; shorts and hat, Mister and Mister Image 8 Harry wears: shirt and jacket, vintage Versace Sienna wears: jacket, vintage Lacroix; sweater worn as headwrap, Beyond Retro Image 9 Sienna wears: shirt, Yeashin Kim; necklace worn in headwrap, Pebble London http://cakeit.net/LET-THEM-EAT-CAKE-ONLINE-1 http://cakeit.net/following/cakeit.net/LET-THEM-EAT-CAKE-ONLINE-1 Thu, 10 Nov 2011 10:25:55 +0000 www.cakeit.net 2184192 Open publication - Free publishing - More culture http://cakeit.net/ANNA-THE-JUNIPER-DOG http://cakeit.net/following/cakeit.net/ANNA-THE-JUNIPER-DOG Fri, 21 Oct 2011 09:41:48 +0000 www.cakeit.net 2178113 <img src="http://payload.cargocollective.com/1/2/83432/2178113/JUNIPER_DOG_FINAL_p26_1.jpg" border="0" width="465" height="679" width_o="465" height_o="679" src_o="http://payload.cargocollective.com/1/2/83432/2178113/JUNIPER_DOG_FINAL_p26_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/horse head_1.jpg" border="0" width="385" height="514" width_o="385" height_o="514" src_o="http://payload.cargocollective.com/1/2/83432/2178113/horse head_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/Anna and the Juniper Dog 2_1.JPG" border="0" width="471" height="570" width_o="471" height_o="570" src_o="http://payload.cargocollective.com/1/2/83432/2178113/Anna and the Juniper Dog 2_1_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/JUNIPER_DOG_FINAL_p40_1.jpg" border="0" width="530" height="707" width_o="530" height_o="707" src_o="http://payload.cargocollective.com/1/2/83432/2178113/JUNIPER_DOG_FINAL_p40_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/Anna and the Juniper Dog 3_1.JPG" border="0" width="474" height="637" width_o="474" height_o="637" src_o="http://payload.cargocollective.com/1/2/83432/2178113/Anna and the Juniper Dog 3_1_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/hyena web_1.jpg" border="0" width="506" height="678" width_o="506" height_o="678" src_o="http://payload.cargocollective.com/1/2/83432/2178113/hyena web_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/JUNIPER_DOG_FINAL_p42_1.jpg" border="0" width="464" height="668" width_o="464" height_o="668" src_o="http://payload.cargocollective.com/1/2/83432/2178113/JUNIPER_DOG_FINAL_p42_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2178113/house_1.jpg" border="0" width="507" height="679" width_o="507" height_o="679" src_o="http://payload.cargocollective.com/1/2/83432/2178113/house_1_o.jpg" align="left" /> WORDS: ASHLEY MAURITZEN My mother loves getting rid of books. In the face of significant opposition, she scaled down my childhood library when I was 18. She was right, of course. You can't keep everything, and perhaps Nancy Drew wasn't quite the proto-feminist icon she's sometimes cracked up to be. So what do you keep? For most of us it's the books we imagine handing down to hypothetical children (in a hypothetical future where the sixth wave of extinction has not yet come and man can still read). We opt for books that have a certain weight to them, both a physical and emotional substance. We seek out a 'timeless' quality; something that captures the mad cap mystery and candy coated chills of childhood, which is mightier than contemporary detail and more delectably horrifying than crime, war and acid rain. Anna & the Juniper Dog, second installment in the Anna trilogy, is just such a book. In a world of disposable possessions and fleeting ownership, the Anna trilogy constitutes a profound experiment in what we keep. It has not one but three authors: writer Geoff Cox, illustrator Rohan Daniel Eason and musician Martin Roman Rebelski of Doves. Each highly successful in their own field, it indicates a creative engagement with permanency that extends across all forms of cultural expression. Physically precious (handbound in cloth by La Boca) and accompanied by a CD, Anna & the Juniper Dog is print that demands an occasion, contrasting the momentary nature of much digital media consumption. Its publisher, the wonderful BlackMaps, is something of a pioneer in this field. The interdisplinary collaborations that it commissions and curates may be collectible in nature, but in their easy cultural elision capture the best of the digital age. Rohan Daniel Eason, illustrator for the trilogy, has worked primarily in couture fashion. (He once designed a pair of gloves for Yoko Ono). Like Anna herself, the love child of three men, his distinctive personal aesthetic has the same spirit across different media. Let Them Eat Cake: So how did you become an illustrator? Rohan Daniel Eason: I've always drawn, since I was small. I got called into the head’s office one day with my art teachers and my parents. I was 14 or 15, they were worried about me and wanted my mum to help with the situation. The head said “Mrs Eason, your son really needs to decide, is he going to be an artist or an illustrator?" I took painting at university, returned to pen and ink when I left, and have been trying to walk a line between them both ever since. LTEC: What are the origins of the Anna trilogy and how did you become involved? RDE: Geoff Cox wanted to write a children’s book, tired of the banal and weedy offerings he had been feeding his own child, Anna. Stuart Souter, disillusioned with the music industry, wanted to produce an artefact, something to be cherished amidst the growing malaise of cheap and digital reproduction. Together they decided to make a new children’s book, one that didn’t pander to the known format, one that could grow with the child’s imagination and be passed down through the generations. I was old friends with Stuart and was lucky enough to be asked to work on the project. LTEC: Black and white, pen and ink – what’s the appeal of your medium of choice? RDE: Black and white has an elegance, an honesty to it that relies on the artist’s ability to balance both sides of the equation. Possibilities are infinite within the creative spectrum, and so giving my practice certain boundaries allows me to fully explore one direction. I love the definition black makes on white. It has two ends: one the lack of colour, the other all the colours together. It’s an exciting process. LTEC: Tell me about the relationship between your own labour intensive, hand drawn style of illustration and digital art… RDE: I think - and this, too, is my hope - that the digital revolution in terms of art is coming to its conclusions; that computers are not meant to replace but gently aid our abilities as artists. Art is about human endeavour, fortitude, passion; the production of a work should stand as a testament to the individual’s depth of character in the pursuit of that one otherwise pointless goal. Art is a direct response to the world around us, but always from the relationship one has with it. I think people get lazy. I think they believe nobody will notice whether they drew a thousand eyes or just reproduced 100 and copied the rest on. Sometimes they will get away with it but I love the truth inherent in a pen and ink work, or a painting. People relate to truth in the subconscious as well as the conscious, and this is where we find beauty and the sublime. It’s the simplicity of the medium. No matter where you take it, it comes back to a hand with a pen. In that way, it’s grounding and can create a connection between the viewer and work in an instant. There are no disguises; it clearly shows the grotesque and the beautiful in life. LTEC: Had you worked previously with dream narrative? What is its appeal? RDE: Dream narrative is a way of seeing life. It’s a loose term that allows me to combine thoughts and ideas from contrasting areas. This trilogy was my first full-scale project in this realm but my work has always had those qualities. The enjoyment of being an illustrator is in taking two paths and joining them irrespective of their individual directions. We are here to show something other than that which is in front of us. LTEC: Anna and the Juniper Dog is a collaboration – why? And who, if anyone, is its ‘author'? RDE: The object of the project was to cover all of the senses, from the weight and touch of the clothbound book to the rich atmospheres Martin Rebelski wrote for the music. We all three became the authors of the finished piece and together the final work is so much more accessible and powerful than any one on its own. I'm happy to say it truly represents a part of each of us. LTEC: What do you see as the role of illustration? RDE: Illustration is, by default, just that. In a sense though, all artists find a narrative in life to draw their own conclusions and interpretations from. I feel it is my job to find gaps in the text or missing leads between concurrent ideas. Words are so very powerful and if illustration becomes too literal it loses its purpose. When I work outside of a brief, I set my own. I write my own narrative, whether that be a comment on society or the strangest thing I can imagine. ‘Illustration’ is more a description of practice than a definition of results. In the Anna trilogy, Martin's soundtrack focuses the books; it moulds the text with the illustration, it finishes the dialogue between artist and reader. Without labels, myself, Geoff and Martin all had a common thread with which to augment our ideas, swerving the loose into a net, each part trapping another sense. LTEC: You've worked with fashion designers like Annette Olivieri, Victoria Grant and Newkid - did you enjoy the experience? RDE: I'm very grateful to the fashion world for existing. Like the overinflated art market, these industries can feed so many people without, if they’re clever, losing the soul of self-intention. My work in fashion was as cared for by myself as any other penned work I have done but, by its nature, beauty is the only drive. As I said before, there is a great truth in black and white and a satisfaction to be got from detail and time. When I put these factors into pattern design, the results are always going to be effective. LTEC: What's next for Rohan Daniel Eason? RDE: I just finished a book for James Palumbo, the co-founder of Ministry of Sound - Tancredi, an adult book, my first one, and I wish for more. I love doing children’s books and I gratefully look forward to the final chapter in the Anna trilogy, but I wish authors could convince their publishers to use illustration for more than the cover. We work on so many levels and, while I'm sure an author can paint a pretty picture, adding a drawing, adding a little definition, can go a long way to heightening the overall experience. Anna & The Juniper Dog, written by Geoff Cox, illustrations by Rohan Daniel Eason and music by Martin Roman Rebelski. Commissioned, curated and published by BlackMaps. Limited edition of 600, available now in hardback with CD. All images © Rohan Daniel Eason. http://cakeit.net/THE-TRENCH http://cakeit.net/following/cakeit.net/THE-TRENCH Mon, 26 Sep 2011 11:47:05 +0000 www.cakeit.net 2046077 <img src="http://payload.cargocollective.com/1/2/83432/2046077/AdamIllustration_640.jpg" border="0" width="640" height="940" width_o="2048" height_o="3009" src_o="http://payload.cargocollective.com/1/2/83432/2046077/AdamIllustration_o.jpg" align="left" /> WORDS: MARC HALATSIS ILLUSTRATION: ADAM PERCHARD It was a simpler, more innocent, gaudier time. I was in my early twenties, getting ready for yet another grueling slog through a day of undergraduate studies. While adjusting my candy colored BAPE t-shirt and scanning the shelves of my closet for a suitably matching pair of Nikes, I decided to flip on an episode of Weeklydrop. For those of you who are unaware, this was a weekly podcast wherein hosts Jeff Carvalho and Rob Hepler would interview streetwear luminaries. That particular week’s guest was Steven Vogel, of Berlin’s Bread & Butter tradeshow. The interview began, and I have since forgotten much of what was said, on any episode of Weeklydrop, to be honest. But one thing remained. At the beginning of the interview, they asked Vogel to define streetwear, a more difficult task than one would initially imagine. Books (one penned by Vogel himself), websites and sundry new media had been produced around the topic, and yet, no one had ever really bothered to pin down what it was. Vogel thought for a moment, and responded that streetwear was quite literally, exactly that. One gets ready in the morning, considers both the particularities of their own urban environment and the climate in general, dresses accordingly, and goes off on their way. Anything above and beyond this is merely gloss and ornament. Time has passed, my BAPE shirts are long tattered and discarded, and my Nikes are currently visible from my window as I write this, in neatly arranged plastic bags being spattered by rain while waiting for the Salvation Army to pick them up. But Vogel’s definition remains compelling, perhaps not merely to streetwear, but menswear as a whole. Simply put, menswear is nothing without utility. Granted, this utility may no longer be functional, having lost its use value and been relegated to the status of ornament. However, it remains in a vestigial form. The basic palette from which the majority of menswear is drawn is a utilitarian one, frequently with roots in military tradition. In the first of what I hope will become and ongoing series on the relationship between militaria and fashion, I would like to explore both the history and future of the trench coat. Surprisingly enough, the genesis of the trench coat is the centre of a hotly contested debate between two stalwarts of British design – Burberry & Aquascutum. It is claimed that in 1879, Thomas Burberry invented cotton gabardine fabric. This particular textile was characterized by its tight weave and water repellant properties, coupled with cotton’s inherent breathing qualities. These properties made for a highly desirable combination, combining comfort with utility. Gabardine raincoats, initially called ‘slip-ons,’ quickly gained popularity and supplanted their primary competitor, the rubber mackintosh, in many circles. Many of these gabardine coats would see action in the Second Boer War (1899-1902), with Mr. Burberry officially submitting a design for a military raincoat to the War Office in 1901. These coats were accepted as optional equipment for officers, available for purchase from commissaries at their own expense, in addition to the standard issue wool short coat. It was not until the First World War that these coats would become a common sight on the battlefield, albeit with a few additional modifications to enhance their suitability for trench warfare. Aquascutum’s claim, on the other hand, is even further reaching – John Emary, the company’s founder, is said to have invented a waterproof wool in 1853. Shortly thereafter, British officers wore coats made of this wool during the Crimean War (1853-1856). Aquascutum fabrics would continue to be used in trench coats through the First World War and beyond, with the company claiming that it in fact designed a belted, double breasted coat specifically with trench warfare in mind. It is thus difficult to pin down who invented the garment now known as the trench coat – both belligerents in this debate have ample evidence that they did. Further obscuring matters is the fact that a number of manufacturers were involved in the manufacture of these coats, as neither Burberry nor Aquascutum alone could possibly keep up with the demand – a New York Times piece dating back to August of 1917 describes American officers scrambling to buy their own trench coats before even arriving at the front. They did this despite the fact that the trench coat was now standard issue for them. What is known is that as with many other garments now accepted as staples of the menswear lexicon, the trench coat was first popularized by servicemen returning home from war, in this case World War One, and continuing to wear pieces of their uniform in civilian life. Furthermore, as may clearly be seen by a brief stroll outside on a rainy day, women rapidly adopted the trench coat during the Interwar period, and continue to wear this garment to the present day. The cessation of the Great War brought with it another development – not only was the trench coat quickly absorbed into the menswear vernacular, it was also quickly detached from its martial roots. While the word ‘trench’ serves as a plain reminder of its origins, the trench coat itself is perhaps even more evocative of gangsters, intrepid reporters, film noir gumshoes, and most humorously, the Burberry trench’s appearance on the cover of The Yuppy Handbook. Returning soldiers brought their trench coats with them, flooding Europe and North America with these garments, quickly rendering them ubiquitous. Of course, the longevity of these coats should not be attributed to the simple fact that many were produced over the course of a large-scale conflict. Rather, returning to Vogel’s definition of streetwear, their utility was the key. Men kept wearing them, and women adopted them, because they were highly functional – they kept the wearer dry and comfortable. Then the Great Depression hit. As the common narrative goes, the Depression brought with it a boom in movie attendance. Coinciding with this, through the 1930s and 40s, a couple of gritty new genres were introduced – the gangster film, and film noir. These films aimed to portray a rats-eye view of the city streets, often on an austere budget, with few resources or desire for lavish costume. A more realistic portrayal of the underbelly of America was the order of the day, and the trench coat was a natural addition to both the costumes and sets of these films. Despite its preexisting popularity, it would be the trench coat’s role as a supporting character contributing to the atmosphere of films such as Little Caesar and The Maltese Falcon that would cement its iconic status. And then we have The Yuppy Handbook, a humorous look at the up and coming professional class of 1980s America. There is nary a gangster, nor reporter, nor soldier in sight. Yet, the Burberry trench remains, now as an object of status. Its association with a subculture that is frankly, disgusting, is perhaps the greatest testament to the strength of the trench. It is an anachronism, one that has been torn from its original purpose, and repurposed so many times, as to be completely flexible. It is a floating signifier, one of grit and privilege, the pen and the sword – one which, with a bit of panache and creativity, can be comfortably worn in almost any context, with one’s imagination being its only limit. I, for one, would highly recommend YSL’s Spring 2012 trench as a great piece with which to get started. Dismissed. http://cakeit.net/DISCO-MOMENT http://cakeit.net/following/cakeit.net/DISCO-MOMENT Tue, 20 Sep 2011 16:26:57 +0000 www.cakeit.net 2026438 PHOTOGRAPHER: CHRISTA HOLKA CONSULTANT FASHION DIRECTOR: JUSTINE JOSEPHS <img src="http://payload.cargocollective.com/1/2/83432/2026438/LTEC_BL1a_640.jpg" border="0" width="640" height="956" width_o="870" height_o="1300" src_o="http://payload.cargocollective.com/1/2/83432/2026438/LTEC_BL1a_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2026438/LTEC_BL2a_640.jpg" border="0" width="640" height="960" width_o="910" height_o="1365" src_o="http://payload.cargocollective.com/1/2/83432/2026438/LTEC_BL2a_o.jpg" align="left" /> WORDS: ASHLEY MAURITZEN Before Bright Light Bright Light there was Rod Thomas (as he’s still known to friends, family, interviewers and anyone with an aversion to Gremlins). Growing up in rural Wales, with musical instruments instead of siblings for company and a pronounced passion for Bjork, David Bowie, Depeche Mode and the technically perfect, much underrated Ace of Base, pop stardom must have felt very far away. Today, with 3 singles out, an album due in February and the venues about to get very large indeed, it’s close enough to wink across the bar at and go home with at the end of the evening. Rod may never have been in a band but there’s no doubting he’s a people person – he kept smiling through two years busking on the London Underground, which would test anyone. The upcoming album promises to be an exciting blend of creative voices and disciplines, harnessed by Rod’s firm belief in collaboration and his clear personal vision. Jon Shave (The Invisible Men), Andy Chatterley and Rod’s long-time hero Boom Bip were all involved musically. Set designer Alun Davies, a childhood friend, is Creative Director, and has brought on board various other fashion and creative talents to make Bright Light Bright Light an impressively three dimensional phenomenon. Rod’s third single, Disco Moment, which is out today (that’s 20.09.2011, you readers of the future), is a highly emotional and infectious piece of dance pop. It’s exciting to know there’s so much more to come. Let Them Eat Cake: How would you describe the music you're producing right now? Bright Light Bright Light: It’s pop, I suppose, but pop with a soul. I’m not interested in generic pop music with lyrics that don’t really mean anything. There’s always a theme or an idea that pulls my songs together, and then I work around that - tease out an image, or a kind of energy in a song that I think needs to be highlighted. LTEC: How would you define pop music? BLBL: Somebody said recently that pop music is music that follows a recognizable formula like, you know, verse, chorus, verse, chorus, end. And that makes sense. But, I guess, for me, pop is music that really gets into people’s hearts and minds, that doesn’t leave them for a while. It seems simple but it’s actually very memorable and very effective. LTEC: What is a 'disco moment'? BLBL: I imagine it being like… If you’ve seen any John Hughes films where they have their ‘this is me’ moment – when they disappear into their dream sequence or their dance sequence. It’s a moment, basically, when you feel amazing and you can lose yourself, in your emotion or whatever. This song is about watching someone that you are in love with have that moment without you and how it makes you feel. It’s not a miserable song, it’s really just recognizing that somebody doesn’t treat you well and being like “okay, well, fine, it doesn’t matter”. LTEC: This has been a wonderfully collaborative project - how did you find the experience? BLBL: It was my first time collaborating and it was amazing. I write all the melody and lyrics – I don’t collaborate with that at all - but we work on the production together, and it’s really cool to have someone to bounce ideas off. It’s nice to get an instant reaction, to have someone say “yeah, that bit’s really good”. It’s good to have someone help you to push things on. And it’s a really interesting process because you learn a lot about what you’re best at and what you’re not so good at. You get a lot more selective because there’s a lot more ideas bouncing round. The doors get a lot more open. Doing it on your own, there’s always the opportunity to go a bit stale. LTEC: You're on the third video for this album, with two others ready for release and more to come. What's the appeal of the medium? BLBL: The whole collaboration project really struck a chord with me so I thought it might be fun to work with lots of new directors. It’s really interesting to work with people’s visual ideas - just seeing how they respond to your music. It's exciting to see their interpretation. There’s always a guideline: like a colour palette, or I’ll tell them what the album’s about, and what the thread is, and that they should maybe keep that in mind. But I’m not going to tell them what to do - you might as well get a cameraman. LTEC: Alun Davis is your creative director - something I don't immediately associate with musicians? What does he bring to the project? BLBL: A very, very defined vision of how to create and maintain an identity. He’s worked so closely with photographers and fashion directors that he’s got a really good eye. So if I have an idea about what I want something to look like, he’ll know how to achieve that. And because, you know, he’s seen me when I was seventeen, and he’s seen me when I’m twenty-seven, he knows what I mean. We really understand each other, and really respect each other, and it’s a really good relationship to have. Especially being a solo artist, it’s nice to have a partner. I guess Ellie Jackson of La Roux has that with her co-writer and co-producer Ben Langmaid. You never really see him but he’s very much a part of it. I think that’s kind of a cool idea. LTEC: How important is style for a musician and why? BLBL: I think it’s really important – particularly now. You have to do something that sets you apart from other people. Anyone can make their music available but you want to show that you actually mean something. The people I’ve loved over the years are all people with a very strong identity. People like Kate Bush, who change their costumes constantly. Everything she wears is undeniably her. I find it amazing that I didn’t really think about style until we started doing Bright Light Bright Light. Alun’s introduced me to a lot of designers, and I’ve got to know a lot of other designers as well, like Aqua and William Richard Green, who I think have really great style. It’s exciting once you’re all dressed up. It makes you look like a slightly sharper version of yourself. You can see when people look uncomfortable in clothing, or when it’s not quite appropriate. Justine Josephs styled the Disco Moment video, and she’s amazing. I wore a lot of Lu Flux clothing while touring (the jacket was hers in the video), William Richard Green, Aqua, Aquascutum, Acne… Nothing massively avant garde but stuff that’s really well designed and really well tailored. LTEC: How would you describe Bright Light Bright Light's style? BLBL: It’s defined but everyday. There’s a little nod to the 80s and 90s - like, I really like my pink converse, or a little bit of gold on the cuff of my denim jacket. And I really go for amazing tailored shirts, as well as simple t-shirts. So it’s very casual but in a quietly special way. LTEC: The Disco Moment launch party is on London Fashion Week Menswear Day. Is there any particular reason for that? BLBL: I’ve worn a lot of Acqua as Bright Light Bright Light, and we’ll only be wearing their clothing for the launch. Like I was, hardly any of my music friends know anything about fashion design, so I thought it would be quite cool to host an event to show people what they actually do. And it’s nice that it’s Fashion Week. It’s very important to show that fashion and music aren’t at odds. And that they’re, also, not in decline - that they can work together. To do something fun and to remember that music and fashion are supposed to be fun; that they’re not meant to be always hard work, or always totally exclusive. Disco Moment is available now at brightlightx2.com. Image 1 Jacket, Aquascutum; Shirt, artist's own; Trousers, Image 2 Shirt, Aqua by Aqua; Jeans, Levi http://cakeit.net/VINTAGE-80S http://cakeit.net/following/cakeit.net/VINTAGE-80S Fri, 16 Sep 2011 09:39:13 +0000 www.cakeit.net 2007190 <img src="http://payload.cargocollective.com/1/2/83432/2007190/1-15a_640.jpg" border="0" width="640" height="428" width_o="2048" height_o="1369" src_o="http://payload.cargocollective.com/1/2/83432/2007190/1-15a_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/23-8a_640.jpg" border="0" width="640" height="441" width_o="2048" height_o="1413" src_o="http://payload.cargocollective.com/1/2/83432/2007190/23-8a_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/30-4a_640.jpg" border="0" width="640" height="429" width_o="2048" height_o="1372" src_o="http://payload.cargocollective.com/1/2/83432/2007190/30-4a_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/47-8_640.jpg" border="0" width="640" height="424" width_o="2048" height_o="1357" src_o="http://payload.cargocollective.com/1/2/83432/2007190/47-8_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/83-33a_640.jpg" border="0" width="640" height="437" width_o="2048" height_o="1401" src_o="http://payload.cargocollective.com/1/2/83432/2007190/83-33a_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/54-32_640.jpg" border="0" width="640" height="427" width_o="2048" height_o="1368" src_o="http://payload.cargocollective.com/1/2/83432/2007190/54-32_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/102-22a_640.jpg" border="0" width="640" height="428" width_o="2048" height_o="1372" src_o="http://payload.cargocollective.com/1/2/83432/2007190/102-22a_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/113-26_640.jpg" border="0" width="640" height="433" width_o="2048" height_o="1387" src_o="http://payload.cargocollective.com/1/2/83432/2007190/113-26_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/114-35_640.jpg" border="0" width="640" height="423" width_o="2048" height_o="1356" src_o="http://payload.cargocollective.com/1/2/83432/2007190/114-35_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/117-15_640.jpg" border="0" width="640" height="428" width_o="2048" height_o="1369" src_o="http://payload.cargocollective.com/1/2/83432/2007190/117-15_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/83432/2007190/P3_640.jpg" border="0" width="640" height="429" width_o="2048" height_o="1374" src_o="http://payload.cargocollective.com/1/2/83432/2007190/P3_o.jpg" align="left" /> WORDS: GEORGE PRINGLE You probably think you remember the 1980s. And if you ever donned a ra-ra skirt, frequented the Bat Cave or lived in fear of the IRA, the fact of the matter is you probably do, because you were really there. But if, like me, you were born in the Orwellian year and beyond, the reality is you don’t actually remember the 1980s. You were simply born in the 1980s and any memory you do have is doubtless shrouded in the nostalgia of edge blurred Osh Kosh denim and television test cards. In other words, your oversized denim jacket is a lie. It is for precisely this reason that aforementioned people, like myself, really ought to consume Johnny Stiletto’s Vintage 80s in all its subdued monochrome and quiet, informative humour. But who is Johnny Stiletto? Nobody knows. A brief Google of the name heralds no fanfare. No face to a name… Well, at any rate, Stiletto remains something of a mystery to me - a faceless entity. I did manage to extract an interview via email but I never saw him or heard his voice (due to tedious complications involving a Skype conversation recorder that mediated so much interference everything came out in Morse code). Then again, what could be more appropriate than concealing the photographer? After all, photographers are peripheral people. It is the joy of the profession. They are freaks and spies. Allowing too much importance to hinge on their image can remove the focus from the raw material they are offering. And given that the 80s were a decade synonymous with identity or, at any rate, the generation of it, it seems pleasantly anachronistic not to put a bold face to a name. That’s not to say that Stiletto’s personality is not intrinsic to what he achieves. Vintage 80s, a collection of some 160 images of London street life, is offset by witty commentary throughout. It is this creativity with words that makes Stilleto something of an anomaly. He doesn’t ‘do galleries’, he does books - a refreshing concept in a field hooked on large white spaces. Vintage 80s is the kind of photography book you can have on your lap, in bed or even in the bath, if you were so cavalier. There is something pleasantly intimate about the experience of possessing these images - and they are some images to posses. Sometimes dream-like, sometimes voyeuristic, or cinematic in an off-the-cuff New Wave way, but always caught and commented on in Johnny’s trademark affectionate and acerbic manner. So without further ado, may I please introduce you to Johnny Stiletto, in his own words: Let Them Eat Cake:
How old were you when you got your first camera? Was there a particular moment when you realised that you HAD to be a photographer? Johnny Stiletto: I’ve always liked photographs. That was the thing that came first, enjoying photographs, I’ve never been particularly manic about cameras, brands, ASA and reciprocity failure. In fact, I even feel embarrassed if someone sees me with a camera. I was quite young when I got my first camera and I was always quite experimental with it because I’d seen a photograph by Robert Capa shot on D Day of a soldier in the water, which was very blurry, out of focus and the most compulsive image I’d ever seen. Technically, I suppose, it was dreadful but emotionally it was dynamite. 

 

 Where were you living in London during the 80s? Were you cultural? Political? JS: I was quite loose in the 80s, but I had a spectrum of places: Islington, Covent Garden, Soho, Knightsbridge... My biggest influence was a French film called Diva: great soundtrack and a white Citroen Light 15. I don’t really do politics, I do people.

 

 
 LTEC: The 80s were such a colourful decade - it's interesting to see them in black and white… JS: I did black and white because it’s technically the easiest to process and, at that time, the easiest to get published. Also, I think if you’re telling stories, which a lot of my photographs are, black and white is a much better medium for narrative photography. My technique for composition is to find something or somebody interesting, get within 2 to 3 metres and press the button. 

 
 LTEC: Have you been influenced by other street photographers? JS: Willy Ronis, Brassai and Robert Doisneau… I’m also quite influenced by lighting cameramen. Douglas Slocombe, who lit the black and white Ealing comedies and, also, the original Italian Job. I think the Italians do street lighting very well. Carlo Di Parma did Blow Up brilliantly and nothing really comes close for punchy black and white to Abaldo Arata who photographed Rome Open City, and under a great deal of difficulty too. LTEC: The snapshots of legs, feet and rears caught in motion are quite arresting. They seem slightly (forgive the turn of phrase) voyeuristic. What is it you enjoyed about capturing women in this way? JS: I think there are certain things about people that are complete giveaways. Shoes, for example. It’s the detail a lot of people overlook so when I’m looking at people, I’m looking at the details, in a way, because they often carry more of a story than the whole person.

 

 

 LTEC: You take a lot of photographs in posh shops - are you intrigued by the world of the upper classes?
(I like the Sloaney images a lot. They amuse me since I grew up on the ‘rough end’ of the Kings Road during the 80s). JS: I think a lot of my locations are to do with self-preservation. If you go into Iceland in Tottenham on a Saturday morning taking photographs of shoppers, you’re going to end up in a lot of trouble. The posh shoppers are less defensive, they’re not so much on the difficult end of life and they’re in the shops for self-gratification, not survival. They’re easier and nicer and funnier to photograph. I don’t do photographs of misery, unhappiness or suffering. 

 I take photographs where I am. I think the most disastrous thing you can do is decide to Go Off And Take Photographs as some sort of special mission. My life and what I photograph are completely integrated LTEC: Do you see yourself as more of a photojournalist or an artist? JS: I take photographs and I think you have to be patient with time. Photographs need time to ripen up because you can photograph something that looks so usual, so completely everyday that, at the time, it has no impact at all. But leave it for a few years and it picks up spice and interest. LTEC: What are you currently working on? JS: I always have a lot of projects. The issue is to get the timing right to get them out. Things I’m working on now might not appear for a few years, and there’s a project that went to sleep for a bit and now seems to have woken up.

 

 

 LTEC: You live in France now - what made you want to leave London? I have to ask since your book gives such an affectionate but realistic view of the city. JS: I never leave London. I might sometimes be living somewhere else but, wherever I am, there’s some of me that’s always London. Vintage 80s: London Street Photography by Johnny Stilleto is published by Francis Lincoln. Available now in paperback for £14.99. All images © Johnny Stiletto.