>> Way back when I would have the time to kill a whole day watching obscure screenings and popping into galleries not for ‘content’ but for the eyes, I happed across the work of artist, animator and all around creative polymath Suzan Pitt – namely her most famous work, ‘Asparagus’, which was made in 1979.  It’s twenty minutes of brilliantly vivid stream of conscious, inspired by Carl Jung’s idea of images being pregnant – so that one beautifully painted cel scene segues into another seamlessly without any straight cuts.  The result is a languidly surreal vision that leaves you aroused and confused in the most positive way possible.  No wonder then that it became a seminal work of animation and propelled Pitt’s name into the limelight. This documentary Persistence of Vision is a succinct and fascinating exploration of Pitt’s work.

Rather than being prolific, Pitt has decided to give ample time to each film project, creating Joy Street in 1995, El Doctor in 2006, Visitation in 2011 and Pinball in 2013.  And all the while, Pitt – now based between Los Angeles and Mexico – teaches, travels and paints.  Out of the blue Pitt’s work came flooding back to me as she emailed me last week,  about her latest project of hand painted coats and trenches, which she used to do in the 1980s to much success.  Patricia Field Online recently commissioned them again and four out of the six styles have now since been sold.  That’s the persuasive power of Pitt’s saturated paintings.   Lichtenstein-esque characters, alien creatures and abstracted visions come flying at you in vivid acrylic colour blocks.  One jacket’s design is derived from Pitt’s latest animation ‘Pinball’, which is an almost dystopian depiction of a being panic-stricken, where pinballs and splatters ping about.

I love the exuberance and humorous generosity of Pitt’s work where it doesn’t matter whether it’s celluloid, canvas or an old London Fog trench coat, her sense of self and idiosyncrasy are communicated loud and clear. The questioning of whether it’s art or fashion seems pointless. A unique point of view doesn’t require finite definition.

More one-off painted coats by Pitt will be available at Dover Street Market New York from December 3rd onwards.  Trust DSM to celebrate the cult creatives of our time.  Pitt’s work leads a different life when painted onto vintage outerwear.  You’d surely get a lot of joy out of wearing one, hence why I’m pondering the Big Flower coat that will probably be snapped up imminently.


NancyNancy jacket

painter front

painter backPainter coat

sailor1Sailor coat

crum back


SP_painted_white_coat-3_1024x1024Crum coat


SP_painted_beige_coat_ver2-3_1024x1024Pinball Coat

SP_ww_painted_coat_1024x1024_d6368ff7-4653-4544-a698-1445ee96f01b_1024x1024Women Comic Coat

big flower

SP_painted_beige_coat3_1024x1024Big Flower Coat

And just in case you’ve not seen Asparagus… take a trip why dontcha…



How does a film title become an adjective?  As in, “Oh, that’s very Marie Antoinette.’ in reference not to the historical figure but Sofia Coppola’s film, to denote anything pastel, frilly and vaguely 18th century rococo in feel.  Or “That jacket is so Blade Runner!” meaning it has 1940s shoulder pads that segue into the 80s.  Certain films and their associated aesthetics, have become part of our mainstream descriptive lexicon and it’s why even without reading the not-so-subtle title of this post, it’s not difficult to see from the line-up of models above, that the theme is… *Lucasfilm intro*… Star Wars!  

Despite the array of British designers that were invited to take part in Selfridges’ Star Wars extravaganza last night, somehow it created a collective tableaux that couldn’t have been inspired by anything but the most anticipated film happening of the year.  J.W. Anderson, Peter Pilotto, Thomas Tait, Agi & Sam, Bobby Abley, Claire Barrow, Christopher Raeburn, Phoebe English and Preen by Thornton Bregazzi were all in this stellar line-up and the results were impressive.  Especially when preceded in a show that had R2-D2 and C-3PO come out for a brief cameo as well as a marching mass of Stormtroopers, accompanied by the famously rousing soundtrack.  Unlike the scores of brand tie-ups and sponsorship deals that Star Wars: The Force Awakens has incurred, the pieces that the designers have created have creative merit to them, precisely because the theme is genuinely potent for the designers.

I love that the world of Star Wars always manages to encapsulate an environment with an aesthetic that balances between the future and the past,” explained Thomas Tait as to the appeal of Star Wars.  His black cut-out floor length cape and space age dress with patent boots had a hint of retrosuperture that is evident in the original Star Wars films.  Other designers also went down an abstracted route to create their outfits.  For Agi & Sam, the intensity flash of colours of battling light sabers translated into layered plastics in various hues seen in the refraction of light.    For Phoebe English, it was the strength of the Stormtroopers and the movement of space travel that inspired her textural black and white looks with a controlled fringe detailing.  Moments like the Millennium Falcon’s hyperdrive powering it into light speed gave Peter Pilot the linear motif on their dress.

Many of the designers looked directly at the attire of characters like Rey from the forthcoming film, who inspired Nasir Mazhar’s womenswear look.  Or the kimono silhouette of a Jedi knight influencing Preen’s black and red graphic dresses.  When we think of Star Wars it’s always the light and the dark,” explained Justin Thorton and Thea Bregazzi.  Christopher Raeburn too also played with the film’s central theme by using light reflective panels in his Jedi-esque outfits. 

Bobby Abley’s childhood memories of Star Wars led to his graphic-heavy sportswear looks featuring the classic Stars Wars logo as well as an ode to Captain Phasma from The Force Awakens.  Rather than going for direct representation of the film’s characters or themes, J.W. Anderson pays homage to the obsessive cult-like adulation of the film, using transfer stickers, cotton patches and Star Wars-esque illustrated imagery to adorn quilted crop tops with padded tops.  It’s the spirit of intense fandom, which fascinated Anderson and the result is a pseudo sci-fi aesthetic that hints at Star Wars rather than referencing it literally.





Peter Pilotto:


J.W. Anderson:









Phoebe English:



Thomas Tait:





Christopher Raeburn:


Nasir Mazhar:


Agi & Sam:0E5A9210


Claire Barrow:


Perhaps one of the most meaningful pieces belonged to Claire Barrow.  Her signature paintings depict beings listening to Captain Phasma on a sleek silver satin dress.  To go with Barrow’s black body suit covered with Swarovski® crystals is a bionic arm created by progressive prosthetics company Open Bionics, modelled by amputee model and vlogger Grace Mandeville.  They’re paving the way in affordable bionic hands that are 3D printed to reduce the costs.  Their black lit-up design created for this Star Wars show, blended seamlessly with the catsuit and more importantly, is more than functional for Mandeville (who doesn’t wear a prosthetic in her day to day life).  Star Wars might deal with sci-fi fiction but companies like Open Bionics are bringing us closer to bionic reality, which made this particular ensemble memorable in more ways than one.




All the outfits featured in the show are currently being auctioned online with proceeds going to Great Ormond Street Hospital Children’s Charity.  




There’s a lot of unspoken love on my part when it comes to Jun Takahashi’s label Undercover.  Maybe it’s that Takahashi has been so consistent in his output of subversive surprise, genre-mashing collections and fantasy spinning in the twenty five years since he started his label whilst he was still at school, that it almost feels like you’re stating the obvious or saying something ridiculously banal when you sing his praises.   Maybe his label feels like a constant because I’m in Japan so often that you sort of take his output like cute hamburger printed purses, his kidswear collaborations with Uniqlo or his Gyakusou line with Nike, all for granted.

The ’Labyrinth of Undercover’ retrospective at the Tokyo City Opera Gallery whilst I was in Japan, best sums up why calling Takahashi ’genius’ doesn’t feel like hyperbole.  ‘Labyrinth’ is a precise and succinct way of describing the complexity of Takahashi’s creative process as is the label’s name ‘Undercover’.  You might be led down many false paths and dead ends.  But it’s an intriguing warren that you want to delve deeper into.  And you certainly need to go underneath the surface to see what’s really going on.

Exhibiting all his collections from his first A/W 1994/5 presented in Tokyo to the ones that I’ve personally witnessed in Paris at present, Takahashi’s world is exposed through an opening hall of show video montages (interesting to note that show running times have reduced from half an hour lengthly affairs to a brisker paced quarter of an hour), key looks from collections shown on individually styled mannequins and most interesting of all, a display of reference books and sketches that reveal a design mind that isn’t borne out of technical precision and traditional dress making, but of ideas, cultures and a childlike imagination, with the most notable creation from this imagination being his famous S/S 09 Grace dolls belonging to a secret organisation called Gila, made out of ripped up teddy bears.

Often labelled as an arbiter of Japanese ‘avant-punk’ or ‘elegant punk’ as a recent interview on Business of Fashion put it, it’s easy to draw parallels between Takahashi and Undercover with his heroine Vivienne Westwood (him and fellow Japanese design heavyweight Hiroshi Fujiwara even published a book on their private collection of Let it Rock/Sex/Seditionaries era pieces).  Takahashi and Tomoaki ’Nigo’ Nagao’s store NOWHERE in the hidden depths of Harajuku, which sprung up in 1993, is the stuff of Japanese streetwear legend, inciting similar sorts of misty-eyed nostalgia that, former frequenters of Sex/Seditionaries on Kings Road does.  Even Undercover’s motto, “We Make Noise, Not Clothes” speaks of a similar anarchic spirit to what Westwood and Malcolm McLaren promoted.

And yet, what Takahashi has created at Undercover over the past twenty five years, is no reiteration or pastiche of British sub-culture – there’s plenty of that in evidence today in Tokyo when you see ‘punk’ spoon-fed out in well merchandised retail environments.  Instead Takahashi has created a rebellion of his own, injected with his own language, from the get go.  Dripping paint, clever tromp l’oeil and deconstructed pattern cutting were his methods of disrupting the high fashion language.  So was the presence of familiar garments like bombers, bikers and varsity jackets, that still to this day echo in outerwear trends – except Takahashi was doing a ‘twisted’ take way back in the nineties.  Add to that his natural penchant for the cute or ‘kawaii’ and the downright fantastical and it becomes an alluring mix.  Collections like the bunny-eared A/W 13-4 ‘Anatomicouture’, the Russian regal A/W14-5 ‘Cold Blood’ or the much lauded Hieronymus Bosch-inspired S/S 15 ‘Pretty Bird Hate’ collection display a wild and untamed romance that is an evolution from his earlier grunge-tinged work.









































The part of the exhibition which exposes Takahashi’s sketchbooks and drawings reveals a mind that is rabidly drawing from a diverse array of references all at once.  Patti Smith’s presence as a personal friend and muse is one particular constant.  Everything else from human anatomy drawings to Rosemary’s Baby is up for inspiration fodder.  His drawings are also similarly fascinating, being neither technically precise or hurried and painterly in the way that say, Karl Lagerfeld’s sketches are – they remind me of drawings from my early teenage years when I would draw out dream outfits.  Hence why the resulting outfits are often like fantasy apparitions and yet, rooted in some sort of a reality.  Both the sketches and the reference books add a depth to a designer that in my mind, still isn’t as celebrated as he should be.  But I guess like all punk spirited people, being feted by the mainstream isn’t necessarily the end goal.  They’d rather make a load of noise instead and invite the right people to hear it.

















‘Labyrinth of Undercover’ at the Tokyo Opera City Gallery in Tokyo, Japan until the 23rd December

>> For the first time in (ever), I’ll be spending Christmas not with my family, not in London and not surrounded by animal fat and roast potatoes but in a land far away with my partner and most likely eating an inferior substitute to a Christmas dinner.  That’s why I’m in two minds as to whether to embrace all the emotional guff that Christmas comes laden with.  When you’re not going to spend the day in your own home, you’re less likely to want to go out – ear muffs on and wrapped up in a scarf – and traipse around town, gathering up all the frippery that will apparently complete a table setting, a tree or a gift wrapping scheme (yes, I love a scheme…).  This isn’t a ‘Bah humbug…’, so much as a ‘Meh, hmmm… I’ve got other things on my mind’ because Christmas isn’t the be-al-and-end-all time to express feelings of compassion, generosity and togetherness.

Christmas campaigns and their saccharine sentimentality in particular are leaving me less misty-eyed and more just vaguely amused at the idea of say, an imaginary man on the moon.  Coach, who have already racked up 2 million views with their Christmas online viral, have taken a different turn that is a tad on the divisive side.  With their #GiveCoachOrElse (tongue firmly in cheek) tag line, a feisty character pays Santa a visit, soccering him a punch before raiding a closet full of Coach Swaggers and changing her Nice/Naughty status.  Without condoning violence on the elderly, the subtext is thus – who needs a gift-giving mythical character these days when women are powerfully earning their own ability to fuel their own gifting desires on a regular basis?  And on that note, it’s bah tradition for me.  This year, my Christmas won’t be bound or guilt tripped by rules or force-fed feelings.  I’ll make it my own.