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Clare Whittingham

Clare Whittingham

Clare Whittingham

Text JF. Pierets    Photos Clare Whittingham

 

Some describe her work as being “darkly comic, satirical and empowering” but since she commissioned a piece for Lady Gaga, her work has become metalwork must-haves. In between art and fashion, she transforms scrap metal into wearable sculptures influenced by anything dark, weird and controversial.

 

How would you describe what you do?  
A part of me wants to say I have no idea what I’m doing. Keeping busy, testing, proving and bettering myself comes to mind when I really think about it. I want to create lasting pieces of art that capture peoples’ attention, something to be remembered for after I’m gone, especially by family & friends. In terms of work I think one word comes to mind on how I want to vision my creations and that’s “bad-ass”. I don’t want things to look cute. That’s why my sculptures, art and fashion pieces reflect what I feel.

When did you start doing this?
I didn’t plan or train to be an artist of any medium. I was working as a welder. Welders minds wander while they’re stuck in a helmet of darkness, staring at a little green glow for 8 hours a day, creating nuts and bolts. Robots are a little novelty among that trade and in general the many welders I’ve known are very creative people. My boredom led me to the scrap bin and I started collecting and making sculptures out of multiple bits of scrap off cuts in my break times. First I made things like flowers and butterflies; I was somewhat conformed by the idea that you had to go with what’ s socially accepted. In 2009 I went to an exhibition in London called Mutate Britain – Behind The Shutters – where I discovered the Mastoid Waste Company. Metal madness. Everything and more of what was lurking in my own imagination came to life. Suddenly I didn’t feel so odd anymore and from that point on I decided to create whatever the hell I wanted, however mad it sounded or looked. When he grew up, my brother read 2000AD Magazine as though it were the bible and I was fascinated by it too. It always frustrated me that I couldn’t illustrate like that. Those costumes, settings and the utter mayhem that comes to life in your imagination is amazing, so I thought I’d try fashioning my own costumes. I’m talking about 3 years ago now and it’s been an exciting time of learning, meeting people who share the vision of just creating, and not conforming.

How do people react to your collections?
Ha! Well, it’s mixed, which I think is good. The amount of times I’ve been told I’m mad or there is something wrong with me is so frightening that sometimes I  start to wonder myself. Being asked for an interview like this makes me think I must be doing something right in the creative process of making a collection of industrial wearable garments.

Can we call it wearable art?  
I’d like to believe so. When the pieces aren’t being worn they’re sculptures, erected at the studio. The metal shoes for example have either been worn on shoots or were exhibited at galleries.

 

 

I wish we still lived in an age where masked balls were regular celebrations so an over-the-top metal mask wouldn’t be looked at as a mere fetish indulgence.’

Do you have the ambition to be part of the fashion industry?
The last 2 years I’ve worked so hard on the fashion pieces that I can’t say it is not my ambition to be a part of it, or that I am not already. One of my last commissions was for Vidal Sassoon and I’ve collaborated with designer Rachel Freire for her ss/12 at the London Fashion Week in the past year. I don’t have the ambition to become a designer who makes collections and is sold in fashion houses or to be a massive brand. I did start to make smaller items that can be purchased online but I’ve shied away from making seasonal collections. I have an ever expanding collection called Girls Metal Shop tips 101- How to wear scrap metal. I’m sticking to collaborating with other designers and their collections.

Where do you get your inspiration? 
Renaissance, mythology, World War 2, 1930’s, ‘40s; comic books like 200AD, post apocalyptic worlds. Films like Mad Max, Blade Runner, Total Recall, Star Wars, Flash Gordon (however cheesy that film is, the costumes are brilliant!). Danilo Donati inspired me a lot through that film. In general I’m more inspired by costume designers than fashion designers, that’s for sure.

Do you feel like you’re part of a movement?
No, but there should be a movement called “kicking ass while taking names”! I’m sure that if you rounded up all the people who are classing themselves as “individual”, there would be a huge movement.

You live in Kent, how does that small town influence your work? 
It is quiet and not a place where you’d go shopping. It has a lot of history and there are still WWII bunkers off the docks which inspired me to explore them thoroughly while growing up. It has a ship wreck, the SS Richard Montgomery, about 2.5 km from town. It still holds 3,173 tons of munitions, containing approximately 1,400 tons of TNT high explosives. The doom and gloom of living on an island that could potentially blow up, is a clear influence on my apocalyptic manic nature. My new favourite place right now is London. Hackney Wicks is a creative hub and I spend a lot of time there. Nevertheless it’s always nice to come home and get away from the scene. I could imagine living in London but with today’s economical climate it’s not justifiable to move there. Let’s not forget that I’ve got a nice little set up here in Kent.

What do you want to be when you grow up? 
I’m not sure. I wanted to become a welder and became one at 16, then I wanted to be an artist and a designer. Now, at 27, I would like to get involved in film. Working in films has always been a big ambition of mine.  I’d love to be a part of the art department. Working on props, costumes, set design and effects.But my first aim is to quit my job in the factory and solely do my own thing. That would be great.

 

www.clarewhitt.tumblr.com

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Woolfetish

Woolfetish

Woolfetish

Text JF. Pierets    Photo Geoffrey Tolaro & Thomas Van De Water

 

Let’s be honest here: the moment Johnny Depp draped the cutest, soft pink mohair sweater on his gorgeous body in the biopic on the American director, producer, writer and actor Ed Wood, many of us developed a delicious vision on wool fetish. Using the alias Daniel Davis, Wood both directed and played the titular character in ‘Glen or Glenda’, expressing his fetish for cross-dressing and angora jumpers. Although he regularly featured angora in his films, his wife recalls that Woods’ transvestism was not a sexual inclination, but rather a neo-maternal comfort derived mainly from angora fabric (Ann Gora also happened to be one of Wood’s pen names). 

 

But what is wool fetish all about? When turning to Wikipedia, information on this subject is very scarse. We do find plenty of articles on leather, spandex, latex and whatnot, but wool seems to mainly stay in the closet. Google however brings us closer to what we’re looking for. This is what we stumbled upon: “A wool fetish is not ‘weird’ to me, but just another expression of human sexuality. People get turned on by all sorts of things, from rubber to latex to fantasies of a dominant giantess or being covered in food. It may not fit the ‘classic’, almost clichéd picture of BD/SM gear and play, but ‘soft’ fetishes like this one are often equally about ideas of enclosure, bondage, control and the tactile/textural experiences of a particular material. We should celebrate this sort of stuff, instead of mindlessly reacting to its difference’.” Needless to say that we at Et Alors? were overjoyed to have found the perfect guy to lead us out of the dark! Some research tells us that he goes by the name of ‘Jumbuck’(this is Australian slang for a sheep). Besides running wool-related web forums and sites he is also a published author. We’re delighted about his willingness to talk to us about this uncommon fetish.

When did this fetish start?
My first conscious recognition of enjoying the look and feel of wool happened when I was four years old. It is very different from others like the transformation fetishes that are common. It soon turned into a fetish that still moves my thoughts and emotions now, at forty nine. The Australia of the mid-sixties was a time when many people – particularly women – frequently wore cardigans and jumpers.  Essentially they were fashion staples during the cooler months of the year, as they had been for a long time.  Anyway there I was playing with my sister and my cousin – who is a few years older – and they both wore cardigans.  They dressed me up as a girl and made me wear a soft, fluffy white one.  I loved it! That act alone may not have resonated so far inside me if it weren’t for a series of experiences over the next couple of years. Starting school when I was four, I found myself strongly attracted to the girls wearing their navy blue school cardigans. In fact I can still remember the full name of the first girl I had a “cardigan” crush on!  I couldn’t exactly articulate the reasons. I just had a feeling they looked delightful and beautiful wearing their lovely buttoned-up woolly vests. At the Catholic school I went to, all the teachers were women and any time one of them wore a cardigan I found myself  responding similarly. Seated in front of these ladies I was a very attentive pupil. I found myself loving the look of cardigans and sweaters on girls and women around me: my sister’s friends, an aunty and her fluffy mohair garments, et cetera. For some reason my mum never wore jumpers or cardigans so there’s no Oedipal element involved. Perhaps, if certain events hadn’t occurred then, my responses might have remained benign forever. But – when one day a new jumper found its way into my wardrobe – my love of wool developed a decidedly darker tone.  Even though I hated wearing it – it was so scratchy! – I obediently put it over my head whenever it was handed to me.  I can still vividly remember how dreadful it felt against my skin as it itched and tormented my neck, arms and chest. Being a “good little boy” I never rebelled, suffering the torment in misery and silence – a rather classic Catholic response of its times, masochistic for all intents and purposes. But in those days young Catholic boys (and girls) did what they were told and from that point on I began associating wearing wool on my body with pain and discomfort.  I didn’t see that women suffered wearing wool in the same way though – theirs seemed so soft and lovely! Age eight, year four. My masochistic associations with wool came to me in full blown colour! Red to be exact. That year my teacher, Mrs Maxwell, could only be described as a very firm, strict disciplinarian who freely administered the cane and strap to any pupil who failed to meet her exacting standards. And yes, she happened to have a penchant for cardigans. Actually just one and it was red. My crush on women and girls took on a completely different turn. From then on – and for many years to come – all I craved was to be “firmly disciplined” by women in cardigans, all the while imagining myself dressed in an itchy, scratchy, high necked jumper or cardigan. Puberty was hell to me! I felt different and all too aware that my responses to my budding sexuality were far from “normal”, so much so that all I could focus on were dreams and thoughts of wool-clad women dominating me while I suffered under the torment of wool bondage. I hated myself for it. But I’m perfectly well adjusted now.

Do you think you would have had this fetish if it hadn’t been triggered at an early age? 
That’s an impossible question to answer definitively. I suspect it  highly unlikely. In my opinion it’s all about associations, so if they didn’t exist from an early age I think they wouldn’t have emerged at all. My life might have been very different if I hadn’t developed this passion for wool when I was a child. Mind you, with a Catholic school upbringing like mine, I might still have developed some type of “appreciation” for firmly applied Femdom discipline.  But we can never know.

What is it that exactly arouses you?
Both the look and feel of wool… specific types and styles of wool and woollen garments. I adore the sight of soft wool such as lamb, angora and mohair on women. I think it enhances their femininity. The way the soft fabric and texture encloses their bodies is something that I truly love. Soft, fluffy cardigans and twin sets as well as turtle necks and bonnets are styles that appeal to me as well. A high, tight turtle neck can look fabulous on certain women, as can a ribbed black one (think “Kill Bill”). Some colours and colour combinations attract me more than others. Soft wool tantalises me as it brushes against my skin. The thousands of tiny claws in the scratchy kind bring my body to life and are a constant reminder of the darkish delights that thrill me so. A turtle neck – preferably one with a high and tight neck line – wraps me up and encloses me (bondage);  a weighty sweater reminds me of my predicament (bondage). Picture two, three or even four layers of jumpers on me: closest to my skin a scratchy, tight fitting crew neck mohair, then a high, tight turtle neck and – to top it all off – followed by a velvety, fluffy angora. Soft on the outside and a visual delight,  but enclosed and uncomfortable on the inside (hidden “delight” / “torment”). There’s yet another element of arousal: I sometimes enjoy cross-dressing in (adult) women’s jumpers and sweaters, but dressing as a “girl”, complete with a soft fluffy cardigan worn with a knitted skirt, matching woollen tights et cetera, is my favourite and definitely evokes memories and associations with those mid-to-late sixties girls I had crushes on.

Is there always a bondage association or is it personal? 
There’s a strong association with bondage but the fetish is not solely focused on that element.  Some of this association is overt – this includes sexual play and sexualised feelings and responses.  And some is covert, and simply focused on liking the look or feel of wool on my body. When I wear a sweater – a turtleneck in particular – I feel warm, snug and enclosed.  This is strongly bondage-related in the sense that I’m “locked in” to the object that encloses my body, especially when the neck line is tight and/or high.  But I don’t go to work, shopping or a concert wearing a turtle neck for overtly sexual pleasure.  I don’t necessarily consciously feel ‘in bondage’, I just enjoy the sensation of being snug and comfortable. Of course there are times when sexual feelings may emerge from a day spent at work whilst wearing a sweater, but certainly not as a matter of course, nor does it have to in my view.

On what level does this fetish have an influence on your daily life?
It’s been – and still is – a major influence on my life.  I can honestly say that it has shaped my life, my personality, my journey.  An early love of wool introduced me to B&D, Domination/submission before I reached puberty. While my teenage years were chaotic and often traumatic because of these associations, they pushed me into questioning the basis of socially-acceptable, “normal” sexuality and from there, a questioning of how society was and is constructed.  This in turn led me to a broad libertarian – leftist political/social perspective.

 

‘I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum.’

Am I wrong to think you could never live in a warm country? Doesn’t this fetish put limits to your whereabouts? 
I could never live in a warm or hot climate. It’s coolness I love, it makes me feel very much alive.  My face all rosy and flushed, wrapped in a sweater, a coat, perhaps a scarf and beanie, tights under my pants, armoured against the chill…feels wonderful. But this doesn’t mean I want to be cold – anything but! Besides, hypothermia isn’t very pleasant, haha!  It’s about feeling warm, snug, enclosed.  “Warm as toast” as one Australian / English aphorism puts it.  Hot weather doesn’t answer my needs, it just makes me enervated, drained, lifeless…and sweaty for the wrong reasons! I don’t feel any sense of being limited by my whereabouts, nor do I feel that I’m  missing out on something because I love living in cooler climes.  We all have to live somewhere, and with a preference for cooler climates, this is my choice. Thankfully my profession allows me to live in a few locations throughout the cooler, South-East parts of Australia. If I chose to do so I could live in warmer, drier, hotter parts of the country. But why would I want to? However, it doesn’t mean I don’t enjoy or appreciate the time when the weather warms up and the jumpers go in the closet. Longer days, lots of sunshine to enjoy…whatever!

Do you feel it with all sorts of wool? 
I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum. Possum “fur” or “wool” is starting to become more common in Australia and New Zealand. It’s as soft , fluffy and delightful as angora. I love it a lot and on my last trip to New Zealand I picked up a possum wool turtle neck sweater, it’s wonderfully salving against the skin. That said, I also appreciate and like “non-fluffy” varieties and styles of sweaters. Interestingly, many turtle necks are made of cotton and other non-wool materials, yet I still like these too. Probably because of the look, that “enclosure” element. Like I said before I also like scratchy wool on myself. The contrast between the external softness and internal torment really plays with my mind and body!

Can we conclude yours is a very sexual fetish?
Not in the normal course of a day. Not all my responses to wearing wool is overtly or necessarily fetishist. I love the style of a turtle neck and know it looks good on me when I wear it with the right clothes. However, I do like the feeling of being wrapped up, enclosed, armoured against the cold. No doubt that response does have bondage associations at some subconscious level. I have strong associations with wool and sex.  Wool bondage holds great appeal. I love being enclosed and wrapped in layers of wool. It puts a completely different slant on what balaclavas, thick knitted gloves and knitted stockings can offer as clothing items. Dom/sub fantasies as well:  the woman doesn’t necessarily have to be dressed in wool but it strongly enhances the experience, as it does when I’m dressed in some wool garment.

Do you have your clothes custom made? 
I don’t have any custom-made items of wool clothing.  It’s amazing what you – or a partner/lover – can do with layers of sweaters, balaclavas, knitted gloves, woollen tights and woollen blankets in the bedroom.  They are available from so many “vanilla” sources!  Among some other things, just add kink-standard cuffs, collars, belts, restraints and voilà! If I’m cross-dressing though, the emphasis is on looking more traditionally “femme”.  I’m largely into the “prim and proper”  look. Very conservative even. It’s quite a contrast to my “other” self! It includes a classic, soft and fluffy cardigan or sweater, perhaps a blouse, woollen tights and skirt, et cetera.

Does it make a difference to you if it’s a woman or a man who wears it? 
Men in wool are not interesting to me. The only times for me to have fetishist feelings is when women wear it, or when I do. I see women as inherently stronger and more sensible than men, especially when they are dressed in a nice turtle neck or cowl. My view on women formed at a very young age.

Does she have to be beautiful or is that of secondary importance?
No, the woman does not have to be beautiful. It doesn’t influence my initial responses towards her sweater or cardigan.  However, a beautiful, intriguing or interesting face or body shape may make the experience more enriching. This could keep my attention – or  memories! – for longer.  But I’m completely biased: I think women look adorable and more beautiful when dressed in a sweater or cardigan.

Do you have a partner? 
Yes I do and she is fully aware of my love for wool and wool-related kink. It’s been like that since the day we got serious with each other. She completely accepts it and knows it’s an integral part of my make-up, personality and sexuality. We regularly played sexual, wool-related games, but in recent years there have been health- and other issues, so we rarely play now. That’s okay, she at least recognises my fetishist interests and accepts them fully. We could be watching a movie and a lady comes on the screen wearing a nice, high turtle neck and she’ll playfully nudge me or make some amusing comment to me.  In other words: by her acknowledging it, she “normalises” it in our relationship so it ends up being just another part of the mix that comes with sharing a life together. Fortunately she enjoys wearing woolly garb and loves cool climates as much as I do. But one has to be realistic: there might be seven billion people on this planet but very, very few are into wool as a sexual object. I’ve never sought out a partner on the basis that they should love this fabric too. Instead, I’ve identified as a kinkster who has a particular bend towards wool and wool B&D, Domination / submission.  They can relate to the bondage and discipline elements. The associations I have with wool becomes easier for them to comprehend, accept and understand.  Over the years I’ve seen many men on wool-related web forums hankering for a woman who will love wool like they do.  I feel sorry for them. They need to think more broadly about the fetish. Seek a partner who is sexually open, loves kink games and fantasies. Inevitably, the wool games will flow as part of a mutually complementary sexual expression by two lovers.

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New Club Kids

New Club Kids

New Club Kids

Text JF. Pierets    Photos Oggy Yordanov

 

The Noughties saw the rise of a new generation of Club Kids following in the footsteps of their predecessors – the original Club Kids of New York City, who, in turn, had followed London’s Blitz generation. In the early 1980’s, the Blitz Club in London’s Covent Garden became the focal point for an alternative club scene–frequented by Adam Ant, Boy George, Siouxsie Sioux and Steve Strange–which spawned even more radical clubs such as Leigh Bowery’s infamous Taboo club in London’s Leicester Square. Bowery famously enjoined, ‘Dress as though your life depends on it or don’t bother’, a mantra the new Club Kids have adopted as their own. They dress outrageously, with a penchant for kitsch and anti-fashion. Often with a mixture of their own self-made outfits and carefully selected labels (predominantly Vivienne Westwood), oversized accessories, excessive amounts of make-up and frequently highly androgynous looks, these flamboyant clubbers have created a vibrant New Club Kids’ scene in London’s bohemian nightlife underground. Fabulous or trashy, beautiful or scary, glamorous or freaky. 

 

Bulgarian-born photographer Oggy Yordanov has lived in London’s Soho district since 2001. As a party kid himself he was so inspired by the exuberance and avant-garde fashion of the London club underground, that he decided to make a unique time document: “While selecting the photographs for this book, I reviewed thousands of images shot over the past decade. The incredible memories flooded back, all those parties and amazing people that made my years in the great city of London so phenomenal. I wanted to share those memories.” At the time I moved to London, in early 2001, the party scene was still dominated by the super-clubs – places like Fabric, Ministry of Sound, Fridge, Heaven and Turnmills – providing a vibrant playground for the young clubber. These were huge capacity venues with great DJ line-ups that pulled in massive crowds of energetic party-goers, some even brought asian escorts to party with. But one breed of party animal was missing – the club kid. It was the time of “less is more” and dressing down was the ongoing trend. For a while I believed that the avant-garde fashion of the real underground London had disappeared, somehow vanished with the modern transformation of clubland. Thankfully, things were starting to change.

In 2002, the musical “Taboo” opened in Leicester Square, Boy George’s tribute to a bygone era – the New Romantics – London’s original “dressers”. The New Romantics were a group of creative and very ambitious individuals, bored with the Punk that had ruled the London scene since the mid 70’s – these kids were looking for something new and different. What started as “Bowie Night”, a small gathering at Billy’s in Soho, quickly progressed into a new wave of party style. In 1979 it moved to the now legendary Blitz Club in Covent Garden. Started by Steve Strange of Visage, Blitz became a hotspot for new talent and attracted a great deal of attention from both media and the music world. With their outrageous dress-sense, black lipstick, heavy eyeliner and asymmetric hairdos, the Blitz Kids started a nightclub revolution. They drew inspiration from the unlikeliest of places and would go to extraordinary lengths to look different, anything to stay ahead of the pack. The musical “Taboo” did much more than revive the New Romantics. It centred around one of the most eminent figures of 80’s nightlife, the very heart and soul of London’s alternative fashion scene – Leigh Bowery. As a true innovator – performance artist, club promoter, model, fashion designer – Leigh started the now infamous polysexual club, Taboo, in 1985. It quickly established itself as the wildest, most fashionable night in town. With his body-morphing costumes, a taste for the bizarre and a deep desire to shock, Bowery radically challenged the boundaries between figure, gender, fashion, beauty and art.

With his premature death in the early 90’s, London lost its brightest, most extraordinary star and arguably the single-most influential figure for the New Club Kid generation. A year after “Taboo – the musical”, a movie about the New York Club Kids hit the big screens worldwide. “Party Monster” brought to life the most outrageous and daring party characters from across the Atlantic, in all their glory and hedonistic debauchery. Partly influenced and often joined by Leigh, these kids took the scene to new heights. They partied harder, dressed wilder, became the underground superstars to a generation worldwide and coined the term Club Kids. At this point London had already witnessed the first signs of a new wave of underground “art-clubbing”. Nag Nag Nag, a mid-week mash-up at the small Soho backstreet club, “The Ghetto”, and the more challenging Kashpoint, were both gaining popularity. Kashpoint, with its very strict door policy,  encouraged extreme dress-up and reignited London’s alternative clubbing. Suddenly the New London Club Kids generation had arrived. Kashpoint attracted some of the original founders of the New Romantics scene, along with fresh new artists, fashion students and up-and-coming musicians – the usual bunch.

Not surprisingly, its most memorable night was a Leigh Bowery tribute – imagine a club packed with hundreds of Boweries. The scene was thriving and an array of new clubs were popping up on a weekly basis. Kashpoint and Nag Nag Nag championed a low-fi, electoclash sound which soon became synonymous with the scene. Johny Slut told The Guardian in 2005 “One reason I started Nag Nag Nag was that music was becoming more interesting again. Anyone who thinks club culture is dead should come and see the queue on Wednesday night. Another breakthrough club that started around the same time was Act Art, which focused on live performances merging art, fashion, pop and club culture. It established itself as the ultimate underground event to challenge creativity and make people feel like they belonged.
 

 

It’s a platform for some of the most radical, experimental and risqué performances imaginable.’

It is, to this day, a platform for emerging artists showcasing some of the most radical, experimental and risqué performances imaginable. The mid-noughties were the new 80’s. Music and fashion were reviving the styles of the decade in its entirety and inevitably, it reflected on the club-scene. There were the Neo-Romantics, the New Punks and the Voguers but perhaps the most original of all revivals was the Nu Rave, advocating DIY style over fashion. Though short-lived, it made its mark on the scene. Labels were being ripped off in favour of personally customized outfits. Plastic neon toys became the ultra-chic, must-have accessory, matched with brightly coloured jeans and gold trainers. Throughout 2006-2008 London was overtaken by the Voguing revival. Though started as an underground dance movement in 80’s New York, it was brought to the mainstream with Madonna’s 1990 hit single ‘Vogue’. Almost completely wiped out by the AIDS epidemic in the 90’s, Voguing was brought back to life on this side of the Atlantic through the advanced popularity of YouTube and the documentary “Paris Is Burning”.

Voguing “Houses” were formed and for a couple of years many Voguing Ball’s and dance-off’s took place around London. Embracing this amalgam of styles – old and new, was the club Boombox, based in the new fashion hot-spot of Hoxton in the East End. It was the brainchild of Richard Mortimer and just like its predecessor ‘Family’, it was never advertised but always spoken about. Boombox attracted a cult following and became the hottest ticket in town. It was particularly favoured by the youth ‘bible’ – ID magazine – and regularly featured in their pages. With its eclectic style and iconic status Boombox became the symbol of the contemporary London look. Favoured for spotting new talent, it was the place to be seen and soon magazines from all over the world were referencing the scene. Editorials in V magazine, WAD and POP magazine followed, but by far the most serious recognition of their fashion came when Italian Vogue “borrowed” Molaroid’s signature disco ball accessory for their cover.

The Club Kids were getting serious attention from the media, a lot were casted in music videos and commercials, others kick-started their careers as fashion designers, stylists, make-up artists, musicians or DJs. Some started their own club-nights, most famously Jodie Harsh, who emerged in 2006 with Circus, and Daniel Lismore, whose latest venture Shabba Dabba Daa has just made ID Magazine’s “Hottest Night in Town” list. Fashion has always walked hand in hand with music and London has a rich history for dressing-up. Club Kids or “dressers”, as some would prefer, encapsulate the creative London as I know it. Fabulous, yet trashy, beautiful and scary, glamorous or freaky – meet the New London Club Kids.”

 

New Club Kids: London Party Fashion in the Noughties
By Oggy Yordanov
Publication date: April 2011, £16.99, Paperback
304 pages with 300 colour illustrations
13 x 19 cm
ISBN 978-3-7913-4554-3
www.prestel.com

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