Voids of Liminality: Michal Janowski

The individual is everything yet appears nowhere. 

The ravenous pursuit of eminence leads him to nothing but bloated egocentrism and stunted human identity. We regress into tribesmen as we disconnect from society and hunt like blind animals to acquire the dream that won’t make us happier. 

I first discovered the arresting work of Michal Janowski through Signal, a London gallery that has already provided me with an exciting roster of artists to review. I’m a big fan of anthropomorphism, elements of which I have started to include in my own work and which is of course being executed so well by Signal’s very own success story Joram Roukes. But Janowski employs his beasts in a more confronting way that forges a very direct relationship with the viewer. 

These are portraits depicting a new human identity. Janowski is holding up a harsh and disconcerting mirror here. At first you develop a sympathetic connection with these raw, faceless figures, as they stare back with the desperate angst and hopelessness of someone – or something, enslaved. Yet Janowski denies his subjects full human identity; they are neither completely human nor wholly animal and as such we are magnetised by the tension of these figures that appear in a constant state of flux; everywhere and nowhere - lost and abandoned in an ambiguous void of liminality. 

That tension is heightened by the figurative nature of his subjects and the abstract backdrops against which they are set. It’s as if Janowski teases the viewer with scraps of reality, only to have them warped by these monstrous hybrids and their origins that remain forever unknown. 

And there is another level to all this when you look at Janowski’s captivating titles which are almost works of art in themselves: ‘Shape Shifting as Favourite Method of Deception’, ‘Trickster; Shaman of the Liminal’, ‘The Assassin of Fake Sanity’* (an unforgettable favourite). Janowski leads us to fawn over his curious subjects that are in fact aggressive and hostile reflections of our own debased nature. ‘Permanent Liminality’, one of Janowski’s more experimental pieces quite literally oozes a psychedelic hyperreality, as the face of a human subject appears to spoil beneath the bleeding mask of a cat.

Janowski thus presents us with ‘shape shifters’, ‘tricksters’, ‘shamans’ of the liminal world: deceptive spirits of another universe that are harbingers of both reality and illusion. And yet these entities are precisely us: we are the abstract monsters masquerading as humans in our perpetual greed, hypocrisy and primal destructiveness. The ‘assassin of fake sanity’ is the subconscious version of ourselves as we indulge in the masochistic fantasy of a world that is not real, not true, and not sane. It’s a beautiful device from the artist that lures the viewer into more self-reflexive territory than a photorealistic rendering ever could. 

Michal Janowski’s work is available at Signal Gallery 

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Recession Rebellion: Illustrating the Fashion Industry

The fashion industry is in crisis. Groundbreaking revelation? No, because it always has been. We just don’t see what lurks beneath the beautiful veneer of an exquisite garment flourishing on a catwalk blinded by camera flashes and pretentious celebrities. We don’t see the crushing ballast threatening the very heartbeat of the designer’s creativity. As a label becomes more successful, it becomes greedier – whilst the smaller designers clasp to even remain buoyant on the restless tide of a mercurial and fickle fashion climate. Ultimately, most companies will sink, whilst some of the higher fliers inevitably buckle under the drudging demands to deliver season after season (the recent disgrace of one leading designer and the tragic death of another is perhaps still an open wound in our minds here).

A pretty bleak outlook on the industry. Do you have the will to read on? If I were to paint a picture depicting the state of the industry, it would be a dripping black canvas, or perhaps if I was feeling a little creative, an illustration of one of Riccardo Tisci’s Givenchy Rottweilers choking on a fistful of banknotes shoved through its gnashing jaws. At least it’d be honest. Because it is honesty which is becoming scarce to find in a time where designers are really feeling the pinch of the moneymen. Ultimately, it is they who make final decisions – increasingly forcing designers into banal submission of those who hold the cash at the expense of their integrity. The excruciating reality is that financiers do not understand – nor do they care – about the ‘art’ of fashion.

Whilst the buyers may be laughing, the creatives are dying inside: any passionate designer who obsesses over their craft is at their core a tortured artist, with surprisingly little concern for the financial rewards. I, like many designers I have spoken with, will tell you that they design not for ‘the consumer’ but for themselves – as it should be. So the minute a creative is forced to churn out something for sake of the next dollar, there’s a dishonesty and discredit there. He has, against sheer and unrelenting brute force, surrendered to the probing corruption of the businessman. Alas, honesty comes under intolerable strain.

But SS13 is set to offer us at least a few saviours who shine as both rebellious, reckless revolutionaries and positive pioneers, ferociously committed to the truth of their artistic philosophies in the sorry face of the industry. They illustrate a fresh and brutal ‘all’s-not-lost’ attitude that truly quenches an arid thirst for something redemptive. The first is Boris Bidjan Saberi – a designer who’s very name sounds like a nomadic ninja from the cavernous depths of a future sent back through time to rescue us from a moral/financial recession. Saberi is known for his unmistakably brutal grunge; his hard-edged, raw aesthetics and so-called “dark hip-hop”. 

His extreme manipulation of fabrics ventures into the realm of the haunting unknown and to the point of chemical experimentation. Saberi is more than a clothes designer: he evokes a mood, a narrative, an atmosphere inspired by real life crises and thoughtful reactions to the world around him. Just a glance at his clothes tells you he has zero intention of abiding to any imaginary “rules” prescribed by the pressure to “make figures”. It’s admirable, intimidating, and necessarily confrontational. Saberi owns the space. Owns his collection. Extreme plunging drapes and oversized mesh hoods and masks articulate this attitude that refuses to be compromised. 

For SS13, Saberi retains his monochromatic palette but brings us for the first time a more structured and polished collection, featuring a marriage between extreme tailoring and highly adventurous sportswear. If his previous collections were a bunch of teenage outlaws, SS13 is a matured crew of veteran gangsters, glued together and ready to resist as a community not divided by the invasion of the moneymen. There’s an understated, minimalist thread going through SS13 which keeps a sophisticated angst bubbling beneath the surface – but it’s still there: not to be messed with. 

Most memorable for me is the tight tailoring with discrete slit vents on the jacket blazers which hark back to Saberi’s deconstructive style without being too showy. In addition, the new angular waistcoats created a superb, futuristic silhouette around the architecture of the male form. Also striking were the paneled asymmetric shirt collars, and the pure all-white looks were a jarring shock to the system: “purity” is perhaps the last word with which we’d be accustomed to describe Saberi’s aesthetic. Sort of like a schizophrenic clash between the Black and White Swan.

Next, Aitor Throup. Now here's someone who diverges between the role of commercial designer and that of artist, imprinting his unique social comment on the identity of the industry in the most visceral and 3-dimensional way. Saberi’s nomadic style has always been conjured by mesh layering and other transparent fabrics, creating a strong, cocooning sense of protection – but Throup takes that a step further with intriguing concepts of body armour and physical encasing.

The London SS13 collection saw an eerie set of highly dense, scrunched up wire mannequins suspended from the ceiling, in addition to these oddly playful, accessorised skulls, candidly slung over the shoulders of mannequins like trophies from Predator’s latest killing spree. Interestingly, it was reminiscent of Saberi’s SS09 disturbing collection which featured white-clad models suspended from the ceiling by chains. Sounds like I’m trying to promote some kind of sadistic suicide couture.

Like Saberi, Throup is an artist – attempting at once to capture the psyche of the modern man. He inhabits an intense, utterly opposing world that would have financiers so groggy with confusion and incomprehension that the only option would be to let the man continue doing his own thing. His signature anatomy trousers absolutely propel Throup beyond the exhausted parameters of fashion trends, with a clear respect for the human body and it’s meticulous formation. 

There’s an anthropomorphism to his drawings, too, with irresistible sniffs of Giger present in his manipulation of the human form through a highly conceptual and deformative - but also reconstructive, lens. It’s like he’s remoulding the overused silhouette, whilst also attuning himself to the anxiety of the industry’s pangs – of which there are many.

Throup is by far one of the most important breakthroughs of the year, deriving his demand – like Saberi – from his mysteriousness – the kind that has made an international success of Hussein Chalayan despite flickering on and off the radar. That sense of the unknown and the unpredictable – relevant both in the collection’s aesthetic but more intriguingly in the uncertainty between the artist’s presence and absence – is what restores the designer’s integrity and in turn the market’s hunger for more.

Unconditional AW12/13: White Hot Winter

Now here’s a label which, for the best part of 5 years, has caused me a clinical addiction and financial/moral bankruptcy. Thanks to Creative Director Philip Stephens, one of the leading fashion gurus of androgyny, Unconditional returns this Fall with a collection that will make my bank statement Unforgivable. 

Stephens is a master of pitch-perfect balance: his hard-edged masculine attitude is always tempered with a daring yet delicate femininity; his formal tailoring humoured by exaggerated, emotional sportwear. Stephens doesn't discriminate: placing his philosophy on luxury basics, he disguises the 'fashion' of his garments, making the wearer feel accepted; understated yet stinking of seductive elegance. 

 For AW12, photographer Dimitris Theocharis shoots bold, electric looks against a pure white backdrop. Yes, for Autumn Winter. At first glance it's hard to imagine this isn't the lookbook for next summer - especially since the previous Spring collection defined itself by a sunburst of acid colour.

But Stephens has never been one to shy away from subverting the norm. It’s an unsually refreshing take on the catastrophic winter weather we've suffered all summer in the UK. Another traditionally dark and haunting Autumn Winter collection may have been too painful a reminder of our hellish climate. Stephens forecasts a brighter trend.

AW12 transitions seamlessly from an acid summer but is now lightly frosted over with an icier palette: pale greys, cool blues and harsh silvers punctuate this collection. It's as if Stephens retains the alienation of winter but with a mysteriously warm approachability.  Not surprisingly, he pulls off the unlikely juxtaposition. 

Next: the new outerwear. Unconditional has always prided itself on exquisite cuts but for me, this is where the label triumphs for AW12. Stephens appears to have written an Edwardian-inspired sub-plot, featuring coats with what appear to be concealed and layered lapels...I want to say 'triple-breasted' but unless I can get that trending I risk sounding like someone who shouldn't be blogging about fashion.  

In one look [see first image] a cropped period-style jacket has been teamed with a pair of extreme drop-crotched harem trousers. I'm not usually a fan of hammer pants, but here the contrast between the sharp, angular dimensions of the top half and the slouched fit of the bottom strikes a magnetic discord in the silhouette, a typical illustration of Stephens' playful aesthetic. Cavalier Couture springs to mind.

Stephens has also taken the trend of animal print a step further this season with printed leopard cashmeres. He is clearly so passionate about the creatures which inspire him that he wishes to metamorphose his customers for the fall into fully fledged fashion Ocelots. There's a real sense of returning to nature here, solidifying Stephens’ concrete ethos of naturally and ethically produced fabrics. 

There’s a purity -  a cleanness about the rock’n’roll thread; last AW saw a grittier, more gothic narrative but here Stephens seeks to bridge the gap between the two seasons, as if to echo the ambiguous indistinction throughout the British weather. The organic aesthetic is mixed with more alchemic elements including Baroque-inspired floral prints and gold and silver panelling. Interesting. 

Much of the outerwear and tailoring also features Ostrich appliques to the shoulders, looking particularly strong on the label's cutaway jacket which crops up in a handful of looks. The minimalist, effortlessly cool tailoring piece with notch lapels and a cut-out back has become a staple for the brand, deriving most of its swag from the fact that almost a third of it is missing despite a pretty sizeable price tag. Kill me for saying this, but it's worth it...

As ever, bondage pants, oversized hoods and funnel necks permeate the collection. Punk model of the moment Leebo Freeman returns without his peroxide bangs offering looks which tip between jesting devilishness and hard sophistication. One of my favourite looks of the collection has to be the double feather print - simply for its rebellious out-of-placeness. 

Time to prepare for a personal recession.

http://www.unconditional.uk.com/

Far East Fashion Movement

Bondage. Crotches. Graphics. Leathers. Masks. No, I’m not talking about the styling for Rihanna’s latest music video. This is the DNA of Asian fashion designers whose radically creative aesthetics are beginning to thread their way into the fabric of British menswear – both on the high street and on the catwalk.

When clothing retail chain All Saints was fashion-forward and actually cool, the plunging tops, bleached knits and crushed leathers produced this unusual gothic charm for the high-street, and to wear an All Saints garment morphed you into the bravest, edgiest guy at the party because you were veering so dangerously close into the ‘feminine’ realm of dress-sense. Sadly, the label has since become abused by Russell Brand and a subsequent cattle following of wannabe rock stars, forcing the company’s image into corporate and frankly uncool territory.

In any case, I ventured further into the realm of androgyny, discovering Unconditional, a luxury fashion line whose fusion of the laidback and the edgy knits itself together each season with an unmistakable air of sexy grunge. I have developed a rather lustful addiction for the collection, which to this day I struggle to suppress. The signature drop-crotched jeans combined with zippers in often-humorous locations; the plethora of deconstructed tops which would make you question whether the designers have ever heard of ‘symmetry’ and straps so abundant you might as well be in a straitjacket certainly gave the brand its unique identity.

When we think of Asian designers we might reel off Juun J, Julius, Songzio. These are artists at the cutting-edge of the industry whose mix of architectural structuring with free-flowing drapes conjure futuristic silhouettes, a recipe for success which has almost become synonymous with the advent of ultramodern video and fashion direction in the music industry - think Black Eyed Peas dressed in arguably ridiculous-looking aluminum overalls. 

But if you’re after some crazy hooded visor-mask jumper made from metallic yarn, you don’t need to fork out a fortune for it in the Superbrands section of Selfridges; yes, it might seem like the most radical thing that’s worthy not even of the fashion industry itself, but head over to Yesstyle.com and discover that there’s nothing extra-ordinary about these aesthetics in the Asian land of fashion. What we may consider to be daring over here is regarded across the pond as a kind of mainstream Topman equivalent.

Unconditional saw a golden opportunity and exploited it: take the trends from the Asian high street, slap a luxury fabric on it and become one of the most impacting new labels of the decade. It’s no surprise to see other contemporary brands like Sons of Heroes, Horace, Delusion, and Tuesday Night Band Practice follow suit – young designers who have instantly made their mark in both British and international markets. That golden reserve ain’t gonna last long though; you need only look to Zara, River Island and Topman to see how distilled the designs have already become. 

Time to seek new formulas?

Sons of Heroes AW12/13 Preview

Last summer I came into contact with the Creative Director of hot new menswear label Sons of Heroes. I was lucky enough to model for the Spring Summer 2012 Lookbook photographed by Harriet Turney, and since then have become enamoured with the brand's bold and confident masculine look. Tagging itself as the "uniform of future icons", Sons of Heroes "pays respect to the future icons of the 21st century, a blueprint that honours our country's heroic past and the formidable people who played a part in it."

In the current UK Menswear climate today, you'll barely survive unless you've got something highly unique to offer, and even then, chances can be slim. I'm always on the pursuit for fresh new aesthetics and Sons has this mysterious luxury-grunge feel about it which can be androgynous without sending male customers running for the hills.

Sons oozes a dark, enigmatic charm; experimental with its masculine silhouette but committed to a certain ruggedness and hard-edged sensibility. The collections feature muted palettes - predominantly monochrome - with teasing dashes of colour and bleaching techniques here and there.

But where this label triumphs as one of the most exciting new labels in the UK today is in its graphic prints - and AW12 is full of 'em.  They are some of the most stunningly detailed images I have ever seen on a garment - true works of art. The leopard silk leather bomber has become something of a signature piece for the brand, having been immensely popular with celebs both over here and in the US. Clement Marfo, Sway, JLS, 2 Chainz, Wiz Khalifa,Trey Songz, and, unfortunately - Justin Bieber, have all been seen sporting it.
For a label that is only 3 seasons old to have become so popular already is a huge feat, and I have no doubt Sons of Heroes will continue to establish itself as a front-runner in contemporary menswear.

Grow some balls and grab some clothes.

http://www.sonsofheroes.com/
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Hello "Art World"

For a very long time I have felt under immense pressure from this invisible force goading me on to create a "blog" because, as a "creator" of things, I should also be "creating" in the virtual world. Yes, I am describing myself in inverted commas because I want to dispel any pompous self-righteousness before I even get started. I'm very wary of self-aggrandising titles and I prefer to think of myself as just having a strong passion and respect for many different forms of design: from fine art to fashion design and illustration, film to creative writing. 

I have a particular appetite for anything that strikes me as unconventional, extra-ordinary, subversive, challenging, controversial, shocking. Just anything that's going to snap me - and you - out of this sad, facebook-induced state of inertness. I'd like to think that's where my art comes from. If it's shocking, fine; at least you reacted.

I'm here to document both my own artistic projects and projects emerging from the realms of art, fashion, film, and anything else that's going to make you stop and think. At times, I might talk about something that's really pissing me off (like Big Brother), but that's probably because it's already hatched as a subconscious stimulus for my next project, so hopefully it'll be worth putting up with.

Nice to meet you,

Jonny Burt.