I took this photo just a little over a year ago, at the Sun Yat Sen garden in downtown Vancouver, Canada. I think 2016 will be a good year.
When Galliano first took over at Margiela a lot of people were shocked, and also horrified that he destroyed the house. But take a look at this all-Margiela shoot, which I found here, you would never think it was from 2008.
Shot by Craig McDean, styled by Karl Templer, model Natasa Vojnovic
The painted-on stocking masks with hair wildly exploding from could definitely serve as inspiration for Gareth Pugh’s most recent spring 2016 show:
Jon Stewart, 20 years ago. The best part is when he shows the aftermath of a model’s spontaneous combustion. Choice bits of a young Kate Moss, Linda in all her haughty glory, Calvin Klein, and Emma Balfour.
I just discovered the In the Studio feature at the NY Times, it is really good, each episode is about 3-5 minutes long and shows the designer in their office answering questions about how they work. This one with Alber Elbaz at Lanvin is my favourite so far, just like his designs he is incredibly charming and witty. He says he feels ‘skinny and pretty’ in his office, but worthless when he goes outside.
Hopefully I can get back to drawing again soon. Here are some WIPs from before:
Have taken some time off for the summer, health related and also with family visiting. Getting behind on a lot of work...sorry to those of you waiting.
I thought JPG’s F15 couture show was really beautiful, and some of the best work he’s put out in years. He has withdrawn from the crazy RTW schedule to focus solely on couture, and it looks like that time off has recharged him. I put my designs from March of this year next to some of his pieces because the similarity makes me feel good; great minds really do think alike!
This (below) was another piece I started working on. I hope to get back to designing soon.
Peter Lindbergh featured my drawing of his photograph of Karen Elson on his instagram!!! It was, without exaggeration, one of the best moments of my life :) The way he described my work was so kind too, he must be a very warm-hearted person.
If you don’t know who Peter Lindbergh is, he is one of the best fashion photographers of all time! The most iconic photographs of every major supermodel in the past 20 years has been lensed by him, many of these models’ careers were made by his pictures. He is still incredible today, shooting the Louis Vuitton and Chanel campaigns, and regularly exhibiting his art.
The picture he took of Karen Elson was part of an incredible shoot for Vogue Italia in September 1997. I believe this was a double issue month, with one huge book for prêt-à-porter, and another huge book for couture. This issue was packed full of amazing images, including Ellen Von Unwerth’s At That Time, not to mention all the Steven Meisel work. It contains the ads for Tom Ford’s Gucci, and snapshots of Galliano’s first couture collection for Christian Dior. There is hardly any retouching on the photographs or ads, from what I can tell.
I dug through my magazines and realized that instead of keeping the Couture book, I had torn out the editorials :( I still have the prêt-à-porter one, but believe me I’m kicking myself now. So here are my tears, in all their ripped up glory:
You’ll probably notice that I’m missing the actual picture that I drew, which is this one:
The funny thing about that is at the time that I was buying these magazines, I lived in Malaysia. Due to their strict censorship of nudity and sexuality under Islamic law, this image (and whatever was on the back of it) had been clipped out of my issue, which makes me smile now. But at the time, whenever you bought something and realized it had been censored, was very frustrating!
Each copy of Vogue Italia was RM50, which is the equivalent of US$50 in terms of what you could buy, and would take me about a month to save up my allowance for. And over the years, after lugging around your entire magazine collection, you start minimizing and editing, and you end up with a few tear outs if you’re lucky.
So, thank you again Mr.Lindbergh. It is likely a small thing to you, but seeing someone who I have admired for nearly twenty years take notice of my work meant an incredible amount to me. It made yesterday one of the best days of my life :)
Laughing Squid featured a link to these behind the scenes special effects photos of Blade Runner, one of the best movies ever made. I went through the movie’s screencaps and then put a few side-by-side here so you can compare the final version in the film. Screencaps from the film are on the left, and behind-the-scenes on the right.
There are also some beautiful polaroids taken on set by Sean Young, here. Feels strange to look at vintage selfies...
And a parting image:
a little update: My piece made it in the show, but unfortunately the event was nearly cut short by the Black Friday riots that marched straight through the Mission, as well as some heavy rain. Mr. Walken is now residing in our hallway, content to watch over our coming and going.
Evening sketching. Can you guess who? Only my favourite actor of all time. There’s an upcoming exhibition/party dedicated to Christopher Walken and they’re taking submissions, so as soon as I heard about it I had to make something. I hope my piece is accepted!
Something for fun that I worked on the last few days. I was getting tired of trying to digital paint with a wacom tablet, I don’t know how Dave Rapoza does it? I can’t seem to get over the disconnect between putting your pen down and having to trust your screen telling you where it is. So I ended up fooling around in Illustrator, which I haven’t done for a while.
One thing I’d like to learn how to do well is paint in Photoshop. It’s not easy discovering how much you suck at something, but the next step after that is to practice and get better at it. So far, I am at the discovery stage. The great thing about computer painting is the ‘undo’ function, layers, and the eraser...it almost feels like cheating if you have only worked with traditional media. But the thing that takes time getting used to is working with a tablet, instead of your hand and elbow resting on the piece, you are connected by a cord and a screen. The quickest way to overcome this disconnect is to play videogames with a tablet. :)
I tried a face the other day but it is so bad, I’m forcing myself to share it here as motivation to get better:
Today I decided to start small, and do some lips. Depressing, is all I can say. I’ve been watching speedpaints on Youtube and I’m going to look around for some good brush sets. Even with all the ‘cheats’, it still feels easier to work directly on paper at this point. The image I used as reference is up top.
The progress shots. You know you suck at something when your execution is not confident.
A bunch of quick sketches I did from the last few years, that were flying around. Some are better than others, and two were done after watching In the Mood for Love, one of the most incredible movies ever made.
Concept art for a new skin for Leblanc, a League of Legends character. Don’t ask.
Mr.Tisci are you checking out my work?! Your lace-ups are beautiful. Please hire me :)