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REVIVAL THE POWER OF NOSTALGIA...

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REVIVAL EDITOR-IN CHIEF HUMA HUMAYUN DESIGN & ART DIRECTION HUMA HUMAYUN

CONTRIBUTORS 06 Andrea Carter-Bowman, Nicola Hamilton, Peter Beckett, Katie Burrett 16 Keith Clouston, Julie Cooper 30 James Brown, Nicola Hamilton, Tatjana Kraft 40 Melissa Jenkins, Suki Miles, Dean Andrews, Abraham Alvarez Gonzales, Tatjana Kraft, Adrian Pini 52 Willie Nash 2


ISSUE 1 CONTENTS

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6 48 IN THIS ISSUE... The Power of Nostalgia.......................................................................................4 Sunday Morning....................................................................................................6 Polaroid Pin-up....................................................................................................16 I’ll Be Dashed........................................................................................................26 Best of British........................................................................................................30 Once Were Warriors...........................................................................................40 L’Amour Fou.........................................................................................................52 3


nos·tal·gia –noun 1. a wistful desire to return in thought or in fact to a former time in one’s life, to one’s home or homeland, or to one’s family and friends; a sentimental yearning for the happiness of a former place or time: 2. something that elicits or displays nostalgia.

A NOTE FROM THE EDITOR Nostalgia is often viewed as something backwards looking, distorted or regressive, but even the word ‘nostalgia’, from the Greek nostos (return home) and algos (pain), is constantly evolving. It was originally conceived by a doctor in 1688 to describe the homesickness of soldiers fighting abroad, and diagnosed as a disease. Over time, the definition of nostalgia has shifted from a medical ailment to a more universally experienced sentiment or emotion. Its meaning has changed from a yearning for home to a longing for a particular time that has passed. Nostalgia is a collective and cultural, as well as an individual, phenomena and embedded within our popular culture. It is a growing visual style or effect. According to sociologist Fred Davis is a lens that “we employ in the never-ending work of constructing, maintaining and reconstructing our identities.” The work that follows is a collection of written and, in particular, visual explorations of this nostalgic lens and of nostalgia as an aesthetic style within contemporary fashion photography. I hope that it proves visually pleasing, but also raises questions and stimulates thought on the lure of nostalgia and the ways in which we communicate it.

Huma Humayun

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the power of nostalgiaa

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Swimsuit by Chanel 6


Morning SUNDAY

PHOTOGRAPHER ANDREA CARTER-BOWMAN FASHION EDITOR HUMA HUMAYUN

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Bikini by Melissa Odabash Ring by Lara Bohinc

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Not from successful love alone, Nor wealth, nor honor’d middle age, nor victories of politics or war; But as life wanes, and all the turbulent passions calm... 9


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Kaftan by Melissa Odabash

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Necklace by Chanel

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As gorgeous, vapory, silent hues cover the evening sky, As softness, fulness, rest, suffuse the frame, like freshier, balmier air, As the days take on a mellower light, and the apple at last hangs really finish’d and indolent-ripe on the tree...

Top by Paolo Frani Shorts by M Missoni 13


Then for the teeming quietest, happiest days of all! The brooding and blissful halcyon days! Walt Whitman

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Top and shorts by M Missoni, earrings by Erickson Beamon Make-up Nicola Top and shorts byHamilton M Missoni Hair Peter Beckett Beamon Earrings by Erickson Photographer’s Assistant Katie Burrett Model Iulia @ Storm

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ious v i c s a l y b bra

PHOTOGRAPHER KEITH CLOUSTON FASHION EDITOR HUMA HUMAYUN 16


POLAROID

Pin-Up shoes by Daniel

Briefs by rosy 17


bra gla

by m

sse

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onso

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pitf

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os s a y b g hon t d e t r i sk


camisole b y odille briefs by monso on

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bracelet by asos a

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p y b fs

bra

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bra and briefs by 6ixty 8ight pendant watch by asos

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rl a e p & a d l i bra by g briefs by b.tempt’d

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sunglasses

by spitfir e 23


ood f k n u j y b t-shirt

bra & br iefs by r osy 24

briefs by topshop sunglasses stylist’s own


bra & thon g by o linge rie

hair & make-up julie cooper model gertrud at first model management 25


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I’LL BE

Dashed Huma Humayun interviews Guy Hills, fashion photographer and one half of Dashing Tweeds, a brand that‘s taking British menswear in a whole new direction...

Sitting chatting to Guy Hills in his North London home can’t help but fill one with enthusiasm for all things related to menswear, British tailoring, tweed, and...erm... cycling. Guy is so enthusiastic about these subjects that he’s almost effervescent. One half of a dynamic duo that is bringing English tweeds right bang into the 21st Century, Revival spent an hour or so discovering that British menswear to is something to finally get excited about again. Dashing Tweeds was born out of a kind of necessity. Guy, an established fashion photographer, found himself in something akin to a career ‘cul de sac’. “I started off having great fun, but then you end up getting more commercial, so I was photographing all the covers for The Mail on Sunday and shooting lots of society girls. My fashion career was going really well,” Guy explains, “but I was getting bored. At the same time I had just got married, so my wife wasn’t very keen on me whizzing off around the world for weeks at a time with lots of models!” Guy had realised that as a fashion photographer, it was important that he developed his own style, so he decided to find stylists or fashion students that he could work with to develop some interesting ideas. He came across young textile designer Kirsty McDougall at the RCA’s degree show and was enchanted by her exhibition, which consisted of a fridge filled with a golden sequin shoe and jacquard fabrics, amongst other things. “It was very humorous and colourful and very beautiful, so I left a card saying could she contact me.” And of course she did.

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just thought he could find a way to sell the excess, and asked Kirsty if she could design some more weaves. Unfortunately, she’d just left the RCA and no longer had access to the looms. In addition, she’d started working for the Paris fashion houses, so “that was that for a bit.” Guy didn’t give up. He lured Kirsty with the offer of a loom, which had to be made to order in Switzerland. “She thought I was completely bonkers”, but it was an offer she found hard to refuse. Dashing Tweeds therefore started as a very homespun idea. As long as Guy could find tailors to buy the excess cloth from his suits, he could go on creating the clothes that worked for him, but then he realised that there was a market out there. “There are people who would like to go to the tailors but think at the moment they’re all boring. If you have the cloths available and the styling and ideas then people will buy into that. That was my idea anyway. I had no idea how it was going to happen.” British tailoring is something that Guy is passionate about. Discovering his little East End tailor was something of a eye opener. “It was a complete revelation that trousers could be made to fit exactly without being hoiked up by belts and jackets would just sit right. It’s a dangerous thing though because then you don’t want to wear the clothes you had before!”

At the same time, Guy had just discovered the joys of British tailoring and had found an inexpensive tailor in the East End of London. He initially commissioned a grey flannel suit. “I thought it was very smart and what one needed, but basically I’ve only ever worn it to funerals.” So then it occurred to him that it was a much better idea to spend money on something he could wear for his day to day activities, which as a photographer, consisted of “whizzing around on a bicycle with my portfolio.” He already had some vintage cycling trousers and knew that tweed was traditionally a sportswear fabric, so decided a tweed cycling suit was the way to go. However, all the tweeds in the tailor’s were “really boring, all sludgy green and designed to blend in with the country. 28

“ When I asked for all the things that you associate with an English heritage, that definitely had a dandy element , it didn’t really exist anymore. The more colourful ones had kind of been phased out.” Fortuitously, Kirsty was producing designs with chevron motifs resembling bicycle tire marks, so he asked if she could weave a fabric for him that was a bit more fun and individual. Kirsty had design experience but not much experience in actually making the cloth, so she had to source yarn dealers and commission weavers, but the result was a “this crazy suit that looked absolutely fantastic”. The problem was that the weavers would do a minimum of 30 metres, and Guy only needed four or five to make a suit. He was so excited by his new suit, however, that he

“The Chap magazine was about how to cook your kippers in your Corby trouser press when your valet was off. Personally I’m not interested in that.” At the same time, Guy formed an unexpected alliance with Savile Row. A magazine sent him there to do a shoot when he bumped into fashion curator Andrew Bolton, who recommended him as a photographer to Savile Row Bespoke, the company that had been set up to promote the various Savile Row tailors as a united brand. It was a difficult time for tailors, even the best of the best, so he was offered a bespoke suit instead of cash, an exciting prospect for Guy, who would never have thought of splashing out £3,000 or more on a suit. Guy took a fresh approach to photographing the Row. “ I wanted to make sure it was very modern and clean and fashion, none


of that kind of nostalgia or dusty, faded yellow light coming in like the beginning of those American feel good movies.” He was especially wanted to convey Savile Row’s ability to create a modern classic. “The craftsmanship has been there from generation to generation but any suit that is being produced is of that time. Because of comedy sketches like ‘Suits You Sir’ people are under the misconception that they are selling you what they want to sell but you can have the best quality and be your own designer.”

“There’s too much nostalgia. English brands like Paul Smith are fun, but it’s classic with a twist. I don’t want to be anything with a twist.”

occasion. I really enjoy that aspect.” Guy sees the Dashing Tweeds’ customer as an “English dandy who wants to look grown up but not boring”. The emphasis on Englishness is a slight bone of contention with Kirsty who is a Scot, and despite having just designed a tartan collection for Henry Holland, Guy is keen to promote the idea of urban and English tweeds. “There’s not that much of an English identity compared to the Scots and tartan. I don’t want it to be too tartan-y.” And despite its deep roots in the tradition of English tweeds, Dashing Tweeds is thoroughly modern. A collaboration with Converse is in the pipeline and Guy has brought the idea of the cycling tweed bang up to date with Lumatwill, a highly reflective yarn he is using in his weaves. The idea came in response his wife’s anxiety over his refusal to wear a reflective vest. Wool, it turns out is also the perfect matrix to hold technical

fibres, which is an idea that Kirsty is developing with a nano lab. “I’m interested in pushing my collection in a more modern, even a futuristic way,” explains Guy. “There’s too much nostalgia. There’s all these endlessly nostalgic brands or big brands like Burberry, but they’re not doing anything new. The other English brands like Paul Smith are fun, but it’s classic with a twist. I don’t want to be anything with a twist. I want to be wholeheartedly modern.” Dashing Tweeds is available at Dover Street Market and at www.dashingtweeds.co.uk Main Picture: Guy ‘whizzing around’ on his scooter Left: A Dashing Tweeds design Below: Guy makes a dash for it All photographs copyright of Dashing Tweeds.

Not so long ago, men would recommend their tailors to friends or fathers would take their sons to get their first bespoke suit In the 80s everything changed... “The 70s was the last really fun free era where everyone still had the idea of individuality and getting things made in Carnaby Street. All those distinct groups that you associate with the past like Mods, or Rockers or Hipsters have become slightly homogenised. Big brands came into the picture so people started buying into a look. Now the magazines are all about brands. It’s label mad. All the Carnaby Street, Soho and little East End tailors disappeared. Then it became very trendy to wear Armani. It was the beginning of the end for menswear.” Even though Guy is so keen to promote traditional British tailoring, he’s far from backward looking. “I’m not interested in nostalgia really. When I was at university, I was aware of a nostalgia scene starting up, especially in the East End with the launch of The Chap magazine. Brideshead Revisited was just on television. Everyone was dressing again like English fops but they weren’t very cool people who were dressing like that. They were out of work actors swanning around in clubs. The Chap magazine was about how to cook your kippers in your Corby trouser press when your valet was off. Personally I’m not interested in that.” However Guy is very interested in the idea of an English way of dressing. “The English gentleman’s wardrobe is a huge influence and the formality of the clothes for every 29


Mac by Jaeger, trousers by Hackett, scarf and shoes by Paul Smith, t-shirt and rosary stylist’s own

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BESTOF

British PHOTOGRAPHER JAMES BROWN FASHION EDITOR HUMA HUMAYUN

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Suit by Aquascutum, shirt and tie by Hackett

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Suit by Daks, shirt and shoes by Paul Smith, bow tie by Hackett, t-shirt stylist’s own 33


Suit and handkerchief by Hackett T-shirt by Paul Smith 34


Jacket by, Hackett shirt and shoes by Paul Smith, shorts by Komakino, t-shirt by Daks, scarf by Religion

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T-shirt by Dr Denim, trousers by Ionnasis Dimitrousis, hat by Misa Harada

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Suit and sweater by Jaeger, shirt by Paul Smith, handkerchief by Hackett, glasses stylist’s own

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Suit by Aquascutum, t-shirt by Junk de Luxe, ring by Yunus & Eliza, dog tag stylist’s own

Grooming Nicola Hamilton Fashion Assistant Tatjana Kraft Model Oxford @ Storm 39


PHOTOGRAPHER MELISSA JENKINS FASHIION EDITOR HUMA HUMAYUN

Magdalena wears dress by Manish Arora, bangles by JW Anderson and necklace (shown on front cover) by Liberty of London. 40


ONCE WERE

Warriors 41


Magdalena wears dress by N’kya Designs, scarf (worn around waist) by Liberty of London, metal belt by M Missoni, shoes by Reem, ankle cuffs by Qasimi, necklace by Made @ Erickson Beamon and bangles by Preshhus Erik wears t-shirt by Asos Africa Collection, trousers by Asger Juel Larsen, shoes by Paul Smith and bangles by JW Anderson

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They will find my sites of townships, not the cities that I set there. They will rediscover rivers, not my rivers heard at night. By my own old marks and bearings, they will show me how to get there. By the lonely cairns I builded, they will guide my feet aright. ‘The Explorer’ Rudyard Kipling 43


Magdalena wears jacket and skirt (worn as a turban) by Aminaka Wilmont, dress by Ada Zanditon, scarf by Lily & Lionel and bangles by JW Anderson. 44


Magdalena wears bustier and skirt by Qasimi, t-shirt by Avsh Alom Gur, necklace by Made @Erickson Beamon and bangles by JW Anderson. Erik wears bolero by Qasimi, trousers by Asger Juel Larsen, scarf by Lily & Lionel and necklace by Made @ Erickson Beamon. 45


Magdalena wears dress by On Ying Lai, belt and scarf (worn as a belt) by Paul Smith, and hat, necklace and bangles by JW Anderson.

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Erik wears tunic by On Ying Lai and headpiece by Louis Mariette.

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Erik wears bolero by Qasimi, trousers by Asger Juel Larsen, scarf by Lily & Lionel and necklace by Made @ Erickson Beamon.

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Magdalena wears top and shorts by Qasimi, boots by Amber Stephens for Jayen Pierson, necklace by Preshhus and bracelets by What’s About Town. Erik wears cardigan by Ramon Gurillo, trousers and boots by Dashing Tweeds, and necklace by Made @ Erickson Beamon. 49


Magdalena wears jacket by Bora Aksu, scarf (worn as a top) by Paul Smith, trousers by Aminaka Wilmont and bracelets by Amrapali. Erik wears trousers by Orschel-Read, scarves by Lily & Lionel, necklace by Made @ Erickson Beamon and bangles by JW Anderson. 50


Make-up Suki Miles Hair Dean Andrews Fashion Assistants Abraham Alvarez Gonzales & Tatjana Kraft Models Magdalena Wroblewska & Erik Munro

Magdalena wears headpiece by Louis Mariette, dress (worn as a top) by Georgia Hardinge, trousers by Asos Africa Collection and bangles by JW Anderson.

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L’AMOUR

Fou PHOTOGRAPHER WILLIE NASH

FASHION EDITOR HUMA HUMAYUN

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Shirt and trousers by Nico Didonna Previous page: Suit by Kamera Obscura Shoes by Joe Tan Jacket by Nico Didonna Shirt by Kamera Obscura

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Dress by Debbie Gething Shoes by Joe Tan

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The nostalgic desires to revisit time like space, refusing to surrender to the irreversibility of time that plagues the human condition. Svetlana Boym 56


Dress by Simone Williams, necklaces stylist’s own Suit and shirt by Nico Didonna, shoes by Gucci

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Dress by Simone Williams, shoes by Joe Tan, ring syltist’s own Suit and shirt by Nico Didonna, shoes by Vivienne Westwood 58


Shirt by Nico Didonna Jacket by Kamera Obscura Earrings stylist’s own

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Shirt and trousers by Nico Didonna

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Dress by Debbie Gething, Earrings stylist’s own Suit and shirt by Nico Didonna, shoes by Gucci 61


STEPHEN WEBSTER & JAMES NESBITT PHOTOGRAPHED BY AMELIA TROUBRIDGE STYLIST HUMA HUMAYUN 62


Clothing courtesy of Ozwald Boateng and Emanuel Ungaro

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