Archive for May 2011

McNairy's Union Specials

Saturday, 28 May 2011 Comments Off


Bumped into Mark McNairy the other day outside the Hideout.

Mark and Lia were on a whistle-stop visit to London and were checking out the store and saying hello to the guys there.
It's a hard habit to break, but clocking Marks footwear is almost always the first thing I do whenever we meet.
On this occasion he was wearing a pair of country brogues, commando soled, mottled leather in brown with a yellow flash at the back.

They're Union Specials he said, with quiet but discernible pride.
Turns out he made them with Chris from Union and Luke Meier exclusively for the store in LA - part of a collection with three colourways.
One of the things I love about McNairy's work is that he often bridges the gap between streetwear and traditional menswear faultlessly.
And that ain't easy.

BTW: the head-shot of Mark was taken by my fellow traveller for the day, Andrew Bunney, and lifted from his Honeyee blog.

I was too busy taking pictures of McNairy's shoes to photograph the man himself.

Superficial? Me? Damn right I am.







Miles Davis Ivy style 3/3 NKU

Thursday, 26 May 2011 Comments Off


Never Knowingly Underdressed.

When Miles adopted the clothes considered the reserve of the Ivy League elite, he wasn’t just embracing a compelling style, he was challenging the status-quo – one which that particular mode of dress seemed to represent.

It was an act of stylistic subversion, a contrafact, a sophisticated cultural hi-jack.

He was also returning to many of the stylistc references he'd grown up wearing as a young man, prior to his move to New York in his late teens.

By contrast to what he'd witnessed in Europe, in some parts of America this was still the era of Jim Crow...

...Segregation and the Klu Klux Klan....
By putting on those weejuns, that button-down, that seersucker jacket, that blazer and those khakis, he was elegantly undermining the establishments illusion of superiority.

He'd walked into an exclusive club uninvited and used those clothes to send out a message while laughing in the face the endemic prejudice of the time. Many other jazz musicians were to follow him.

I never have forgotten one time in Europe this nice old man told me how in World War II, the Europeans didn't know what to make of Negro troops. They had their picture of this country from our magazines and movies, and with a very few exceptions like Pops Armstrong and Joe Louis and Jesse Owens, they didn't know about any Negroes except servants and laborers.


Born on May 26, 1926, had he lived Miles Davis (pictured far left) would have been 85 years old today.

So What.




Miles Davis & Ivy style 2/3

Tuesday, 24 May 2011 Comments Off


Originally bought this album in my early twenties. It had a brown sleeve. French sleeve-notes. £1.99. Bargain bin. Had no clue what it sounded like; needed to buy something, hear something new. It was all I could afford.

Had hoped there would be something danceable, a track I could give to my DJ - I was starting a jazz night. There wasn’t. But it was beautiful. A pared-down Kind Of Blue; soulful and minimal.

It became a kind of guilty pleasure.; Miles sounding unlike anything he’d ever done before or after. Miles playing with French musicians. Miles on a bargain-bin LP.

I was on the phone to jazz DJ legend Paul Murphy, one day. In the background I could hear this piece of music.

You have that Miles album, too. I said. Turns out this rare LP had cult status among jazz heads. Nominated for a Grammy in 1960.


This footage is indeed the real deal. Early December 1957, Miles, in Paris, recording the soundtrack to Ascenseur Pour L'Echafaud. Invited by director Louis Malle, he assembled four unrehearsed musicians to improvise over themes he'd prepared for the score. They played in front of a screen while Malle projected the relevant scenes.

I met French filmmaker Louis Malle through Juliette Greco. He told me he had always loved my music and that he wanted me to write the musical score for his new film, Ascenseur pour l’echafaud. I agreed to do it and it was a great learning experience, because I had never written a music score for a film before. I would look at the rushes of the film and get musical ideas to write down. Since it was about a murder and was supposed to be a suspense movie, I used this old, gloomy, dark building where I had the musicians play. I thought it would give the music atmosphere, and it did. Miles Davis to Quincy Troupe.


Miles Davis & Ivy style: 1/3

Sunday, 22 May 2011 Comments Off

There’s Miles – a foreign man, in a foreign town being welcomed as if it were some kind of homecoming. He loved Paris. On his first trip in '49, aged 22, he hung out with Picasso and Sartre. Plenty of ex-pats told him to stay – James Baldwin, Chester Himes, Kenny Clarke – but, despite several visits, he always needed to return to New York – his wife, family, music, car. Unfinished business.


















I got my music, I got Frances and my Ferrari -- and our friends, I got everything a man could want -- if it just wasn't for this prejudice crap. It ain't that I'm mad at white people, I just see what I see and I know what's happening. I am going to speak my mind about anything that drags me about this Jim Crow scene. Miles Davis 1962.

Little Roy vs Nirvana!

Wednesday, 18 May 2011 Comments Off


Brand new sound clash: hot off the press and even hotter on the dancefloor. Limited edition 7inch comes out July.






Surf's Up at John Simons

Sunday, 15 May 2011 Comments Off


Current issue of Free & Easy has an extensive feature on what we call the popover shirt. Initially these button-downs were introduced by Gant back in the 60's and became an Ivy style standard soon after.

In Inventory Magazine last year I wrote a tribute to Reyn Spooner and their classic reverse print Aloha popover.

The company actually used a Gant shirt pattern - with the blessing of brothers Arthur and Elliot Gant - to create their version. It became a signature style for the brand, both locally and on the mainland.

Last year Stussy Deluxe did a collab with Reyn Spooner but somehow neglected to include a button-down popover in the otherwise brilliant capsule collection.

Ahead of the curve as ever, John Simons introduces his own-label popover shirt this summer - Ivy style versions and Aloha versions. Surf's up Chiltern Street way.

The Big Society shows in London part 2

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The Big Society shows in London

Saturday, 7 May 2011 Comments Off


From a city built on a modernist dream - images of the Big Society writ large in the streets and within the buildings of a remote municipality in Germany's former eastern block.


The Big Society: DDR Kunst Aus Schwedt was initiated by Dimitri from the seminal Berlin club Tresor. As I explain in the shows catalogue, it took on a momentum all its own when gallerist Ernesto Leal and several others - including the people of Schwedt itself - got involved.



The show, incidentally, coincides with the 85th anniversary of the General Strike, which involved a bitter battle between miners, supported by the Trade Union Congress, and Britain's mine owners.

The rich industrialists were supported by the Government of the day. The TUC called out 3 million of it's members. That's 20% of the country's adult population. At least 4,000 workers were arrested. The strike began on May 3rd and was called off on May 11th. The workers lost.


In many ways this amazing exhibition, like the 1926 General Strike are examples of a collectivist ideology which today exists in name only. Go see.


3 Rivington Street
London EC2



Harry The Pencil shows in London

Thursday, 5 May 2011 Comments Off


A joint show; David (Harry the Pencil) Harrison and Malcolm Brown. Professionally both are hugely respected architectural draftsman. Masters in their field, the show demonstrates their ability to draw and paint for pleasure; no brief, no restrictions. The result is very, very elegant.


Malcolm's work features both natural landscapes and urban scenes; lots of movement, contrast and an amazing sense of fluidity throughout.


Harry the Pencil's work centres mainly on portraits. Three tiers high, the top tier features drawings of iconic men - Obama, Booby Moore for example.


The two lower lines feature portraits of Harry's friends and members of his family - his son Max (one of the best dressed men I've ever met), his father, Lloyd Johnson (Johnsons), Gary Wright (Wright & Teague), me - among others.

Overall, Harry's treatment of light is in many ways reminiscence of the Dutch Masters but it's the individual personalities that seem to dictate the style and feel of each portrait.



Ultimately what you see is a human landscape - an ordered display of meaningful male relationships. Like Lawrence's and Shaniqwa’s exhibitions, perceptions of men are again at the heart of Harry's brilliant installation. Go see. Go see all three if you can.


Drawing Together, now through to May 12

Studio 54 Architecture, 54 Rivington Street, EC2A, 020 7729 7818



I would go out tonight, but I haven't got a stitch to wear: Shaniqwa Jarvis shows in London

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This Charming Man is a visual conversation about intimacy, clothing and image.

Brooklyn born Shaniqwa Jarvis selected the subjects not because they were famous or had big personalities but because they had something else going on which made them noticeable - call it an innate sense of self, call it style. She found this quality intriguing even if many of the subjects weren't fully conscious of it themselves.

She photographed each of them in their own home. They wore fav items of clothing. About five different looks each. With each new look came mood changes and identity shifts. Throughout, Shaniqwa sensitively observes how clothing and context amplify and at times betray the image her subjects are hoping to create. Like I say in the shows catalogue, it's cool, compelling stuff.

Both Frankly, Mr Shankly and Shaniqwa's first solo exhibition look to classic Smith's songs for their titles. In some ways This Charming Man is a perfect flipside to Lawrence Watson's images. Go see. Go see both if you can.


Lawrence Watson shows in LA

Monday, 2 May 2011 Comments Off


If I were in LA this week I'd be planning to go see the new Lawrence Watson exhibition.


One of the reasons Lawrence has managed to keep on top of his game is that no matter how big or famous he gets, he never looses sight of the fact that his job, his art is to capture someone else's moment, not his.


Don't get me wrong, the stories behind some of these images are crazy. Ask him about his first ever assignment, courtesy of then NME editor of Neil Spencer and accompanied by then NME writer Paul Bradshaw; or ask him about his first ever album cover - Confessions Of A Pop Group - featuring images personally chosen by Weller, for example. But ultimately what makes his work so great is his love of music and his overriding interest in other peoples stories.



knibb design showroom
1522 abbot kinney blvd
venice ca 90291


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