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Jorge Clar

Jorge Clar

Jorge Clar

Text Jorge Clar

 

We caught up with poet and performance artist Jorge Clar in his home in New York, and talked about words, sounds, and image. An ideal for living.

Initially, you came to New York because you wanted to be close to the disco scene.
That was the main reason. While growing up in Puerto Rico, I spent my time daydreaming and playing records. I became enthralled with the layers of sound in disco—the music became medicine. Everything about the genre, from the quality of the recordings to the way the arrangements are structured—featuring classical strings and horns, electronic textures, and rhythm—is alchemical. Disco pulled me through my adolescence. A few days after moving to New York in the fall of 1987, I went to the closing of the Paradise Garage discotheque. Larry Levan’s musical selections, and Richard Long’s sound system, were so mind blowing. The clubbers danced with such freedom and expressiveness—I knew right there and then I was home. I had gone to the Garage with Jesse Díaz, my first roommate in New York, with whom I had spent many summers in Puerto Rico, hanging out in discos and constantly listening to music. Through him, I developed a love for dancing and pulling looks together. In the early 90s, I would meet DJ Freddy Turner, with whom I would write record reviews on house music 12-inch singles for underground music magazines, in the process meeting many of my heroes in music, like David Morales, Kerri Chandler and “Little” Louie Vega.

When did you start writing poetry? 
I always loved books, and ever since I started reading authors like Borges, Ginsberg, and especially the short story A Clean, Well-Lighted Place by Hemingway, I knew I had to write poems. I remember reading Howl and thinking it was like my stream of consciousness. So I sat down on an old cast iron typewriter my father had given me and started to write, imagining myself a tape recorder of phrases and sounds I heard. My first poetry collection was called In a Singapore Hotel Room. I imagined myself as Somerset Maugham in the Raffles Hotel, which I had visited during a summer vacation, even I was able to get the best hotel credit card. This was one of the first instances in which I was inhabiting a different character in a work of art, something that continues to this day in my performances. Through poetry—and through making cassette mix tapes, which to me were like building blocks of sound and words—it became easier to make friends and demonstrate who I was. I was a very shy only child, and mostly related to adults, until I decided I wanted to be friends with more of my classmates. Initially, I imitated the style and idioms of all that surrounded me, trying to fit in. But I soon realized the more I delved into my eccentricities, the more I had to share. After graduating from Syracuse University, where I studied Newspaper Writing, I eventually started combining between performance and poetry readings. People enjoyed the extra aspect of showmanship. A few years later, in New York, I worked at Penguin Books and started to come together with a group of friends. My friend Douglas Rothschild invited me to read at mythical places like the St. Mark’s Poetry Project. We would organize salons or read at people’s houses. My friend, the playwright Adam Rapp, would perform as a “human prop” with me. Those were formative years. Living with painter roommates Alberto Álvarez, and later Michael Brown—who still shares an apartment with me—has honed my eye for visuals and the notion of what makes a painting work. Hanging out with my college friend Paul Weinstein, with whom I would spend every Friday night and Saturday morning in his Park Slope apartment, focused my appreciation of great graphic design, modernist radios and electronic equipment, new wave music, and all sorts of collectibles.

What else did you learn during those days? 
When my father passed away, I spent 7 years in Puerto Rico taking care of my mom. It was wonderful to relate to her as an adult and also explore other sides of my personality. I became the perfect homemaker and sometimes, when I would see objects from my life in New York, I would wonder where that person had gone. Eventually, I was offered a job at a marketing firm back in the city and mom was well enough to stay with a caregiver. I returned to living in New York full time. At a party, I met my friend Dominic Vine, and he introduced me to the Radical Faeries, a grassroots countercultural movement seeking to redefine queer consciousness through self-exploration. They were founded as a reaction to gay culture towards the end of the 70s. Back then, there was an emphasis on a ‘clone’ aesthetic, which presumed a masculine stance and set of rules. The faeries, on the other hand, established sanctuaries in rural areas where men could explore aspects of their femininity. Becoming involved with them was a milestone in my life. I explored questions about relationships, sexuality and freedom. I discovered there is no “one size fits all” to relationships, for instance. They can be endlessly customized beyond paradigms like ‘husband’ or ‘boyfriend.’ Also, it was around this time that iPhones came into the scene, facilitating the capability of taking photos on the go. Dominic photographed me constantly, and we became collaborators in photo, writing and mix CD projects.

You’ve come a long way. How do you look back?
When I was little, I imagined myself on a dance floor like the one in Saturday Night Fever (I actually did visit the dance floor featured in the movie one Halloween, when my friend Katsumi Miki and I went to the now extant Spectrum disco in Bay Ridge, where the movie was filmed…I danced to Madonna’s “Vogue” on its wonderful lights and cried), moving to the rhythm of disco music and being exactly in the moment. I imagined myself in a sort of monumental stasis, frozen in ecstatic bliss. It heartens me that everything I envision actually manifests. It all becomes true. In my dreams, I wanted to interact with other artists, have lots of records and enjoy life everyday—and here I am.

 


I get the feeling that people are way more focused now on creating, expressing their freedom and celebrating who they are. It’s almost like a statement.’

So you’ve found your peers?
Yes, I think we’re on the brink of a movement. I’m humble and grateful to be a part of it all and facilitate connections between people, supporting each other and working together. For example, I never considered myself someone who draws, and now I do so in a spirit of play and discovery. At my friend Joel Handorff’s place, Kelly Bugden, Scooter LaForge, Van Wifvat and I often get together to draw, and more friends like Rafael Sánchez, Gail Thacker and Gerardo Vizmanos also join in. We like to call these sessions “The Magic Mirror,” where we are all reflections of each other. Johnny Rozsa will often serve as a model. Connections happen serendipitously. I met Bubi Canal when he came to see a performance I did with José Joaquín Figueroa. That meeting led to much collaboration, and I’ve played characters in both Bubi’s and Jose’s video art. Bubi and I meet almost daily to discuss social media and work on projects at Little Skips, a café in Bushwick which we call “the office.” I commissioned a t-shirt with a painting of Allen Ginsberg from Scooter years ago, and that dialogue led to countless painted garments, which I often wear during my performances—both live and in photos—and often within the context of his shows. I wrote poems about the atmosphere of his painting process and they were included in the catalog for one of his shows. Dietmar Busse invited me to his apartment to take my portrait, and from there he has taken many photos which are so dear to me. In Van’s house in Ocean Grove, New Jersey, a Victorian cottage full of good spirit (I think I lived there in a previous life), many of us get together and make drawings and take photos. The greatest beauty of all this is that through creativity, we all have become dear friends who participate in a constant conversation that generates new realities.

What do you think of the political climate of the United States at the moment? 
There’s a lot of political anxiety nowadays. The day after the last election almost felt the same as the day after 9/11. There was this stillness, based on anger and pessimism. A lot of people felt very scared and wanted to leave the country, thinking, for instance, that gays would be more marginalized as a minority group. However, I get the feeling that people are way more focused now on creating, expressing their freedom and celebrating who they are. It’s almost like a statement. Everything has a political implication. It makes art stronger and it is going beyond the framework of what has been before. It’s getting richer and more focused. And it comes straight from the heart. Like an act of magic. Now more than ever this whole idea of following your intuition takes everything to a different level. Do you know the saying that the darkest part of the tunnel is just before the end? Well, I think that’s where we are right now.

And your personal work? 
I have my blog, which is basically a photo-performance as well as a writing project. It’s both an archive of all the personas in my imagination as well as a documentation of the artistic community. I write stories about what I’m wearing on certain days. I explain where and with whom I was when I found a particular shirt, for example. What we were talking about at that moment. What caught my eye and convinced me to buy. Or about the friend who gave me a pair of pants —what he is doing with his life, where he comes from and why he felt he needed to offer me that present. The stories go into the details of what happens every day, in Proustian fashion. My biggest influences in writing are Andy Warhol, 80s nightlife chronicler Stephen Saban, Charles Baudelaire and Bill Cunningham, the late New York Times fashion journalist. On the blog photos, I’m often wearing clothes made by friends, which adds an extra layer to the narrative. I become a mannequin—or a canvas, if you will—for their artwork. The images connect people and events in daily life. I’m weaving together a world that seems recognizable, and yet has a dreamlike quality. Jorge Clar Diary is a never-ending novella.

You make time capsules.
Yes, time documents, literally and figuratively. Like a diary. I’ve always loved diaries because of the way they talk about the small things. I love the idea of giving these tiny details their moment in the spotlight. By doing so, even the most banal thing can become very meaningful. It’s a pure reflection of my thinking process.

Tell me about your work on physical transformation.
When I first came out as a gay man, I was travelling through Israel. I felt very comfortable there, mainly because I was in a different environment. Being in Jerusalem, I could feel the place was very charged. Generally, people go to this city with much anticipation, due to whatever significance they give to to the place, which makes for a particular energy. The only other place that has the same energy is New York City, as people tend to come here with a specific purpose in mind. In Israel, I felt like I could see things within a sense of protection. Up until that point, I had repressed my attraction to men, and it was in Tel Aviv that I had an epiphany and was through with denial. I “came out” to myself. A veil lifted, and after that I transformed very quickly. It wasn’t as much about sexual liberation, but more about freedom of expression. And one of my main tools of expression is through clothing. I’ve always been enamored by an abstract sense of glamour and the epiphanies I often have late at night, when I listen to music. By accessing that magic and expressing it through clothes, I create subtle characters that deliver a message.
People react to this expression. I say this very humbly and with much gratitude: sometimes I am told I give hope. That my work inspires or cheers up the day. I think that’s so amazing. I love walking down the street and having someone smile at me. When one wears even the most surrealistic outfit with conviction, there is almost a air of reverence.

You sound very spiritual. Are you? 
I feel the universe has always taken care of me. I’ve been through hardships, but in the end they made me strong enough to now enjoy every moment. You’re taught to be happy when you have achieved something, but I think it’s of upmost importance to be happy—in other words, to have a generalized sense of wellbeing—and enjoy the process as you go along. If you follow your intuition and are a kind person, things become way easier to navigate. Art becomes very helpful, bringing forth a meditative state. When your work is based on play, more possibilities come to light: you can do and be more. I strive to think constructively, and manage my emotions consistently. When I do what feels good, I know I’m on the right path. I can then manifest with utmost efficiency.

 

www.jorgeclar.com

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Heavy in White

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Heavy in White

Text JF. Pierets    Artwork Lynn Bianchi

 

Lynn Bianchi is a New York City-based fine art photographer and multi-media artist who has shown work in over thirty solo exhibitions and in museums worldwide. Her photographic art has been featured in over forty publications. Bianchi’s Heavy in White series was inspired by body-consciousness, and the desire to create a fantasy world where women could break free of self-criticism. Small and heavy women celebrate nude while eating and dressing, existing in the moment, challenging societal ideals on weight, beauty and sexuality. The Heavy in White women are not trying to impress or perform. They play dress-up and eat with relish, celebrating their sexuality without trying to be something other than what they are.

 

Your series ‘Heavy in White’ is right up our alley regarding diversity and a different view on beauty. How did you come up with the idea?
One time, I went to a Whitney biennial exhibition and I saw lots of tables covered with what looked like garbage. They said it was art. Then I went to MoMA. I saw the Impressionist paintings: Monet, Cézanne,… Coincidentally, tables were involved again: beautiful still-life paintings, gorgeous table settings in the impressionist paintings. I went from garbage to beautiful fruits and flowers. After the Whitney exhibits I was very much impressed by the clash of opposites. I thought to myself: I can do that. But what is it that I Iike? I like white. I also could use tables. So tables led to food, food led to body image. Then I wanted a heavy model. And that’s how it started.

Why did you choose to put them in a neoclassic setting?
I guess I’m a neoclassicist inside. One isn’t always in charge of what comes out of ones mind.

Which artist inspires you?
No artist in particular. I’m inspired by my own life experience and by life itself.

How about the models? Were they as positively body-conscious as you wished them to be?
Not necessarily. Being a woman myself, I know that most of us are not satisfied with our bodies, no matter how close to – according to today’s standards – perfection we are. In any case, the photo sessions took away a great deal of the self-consciousness that my models were feeling towards their bodies. For example; I photographed one woman who was bulimic. After our photo sessions, she was able to overcome her bulimia. The sessions were like facing one’s worst fears. Nobody felt self-conscious because the idea of any specific individual or identity was of so little importance compared to the task at hand. The models did not actually lose their identity, however, but rather their sense of ‘self’ was allowed to submerge into the collective. Each model became an important part of the bigger pictures. The photographs weren’t about one individual but spoke of something deep inside each one of them.

 

 

‘I want people to see the joy of living, in and of itself. I’m showing them one of their fears, for example the fear of being too fat. But there is a sense of commonality in the nudity and once the differences are exposed, they are more beautiful than scary.’

How important is diversity in your work?
I love diversity. It’s never boring. It’s life.

It looks like all those women have a lot of fun. Was it a pleasure to shoot them?
Absolutely! The models weren’t self-conscious. Quite the opposite. They were given one task; to eat. And while doing that, they forgot to be in control. They became a monumental sculpture. An exchange of beauty occurred. It was a harmony of shapes and forms. Then came the acceptance of the differences between all of us. It was the best fun.

Why did you want them to eat?
Because that’s what we do every day; we eat and we suffer, we don’t eat and we suffer. You want to eat but you don’t want it to show. But at the core, it is a pleasure to eat. It is a very social thing, too. People get together to eat and have a good time.

Your pictures are very physical. How do you accomplish that feeling?
I just show what’s in front of me. And again; life is very physical.

What do you want your spectators to see?
I want people to see the joy of living, in and of itself. I’m showing them one of their fears, for example the fear of being too fat. But there is a sense of commonality in the nudity and once the differences are exposed, they are more beautiful than scary.

Are you, yourself, free from self-criticism?
I have to say with laughter: no! Absolutely not!

How do you define beauty?
From inside out. Beauty is something that shines through. Physical beauty is pretty to look at, but it disappears quickly if there is nothing much to support it. Beauty is the joy of living.

 

www.lynnbianchi.com

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Michael James O’Brien

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Text JF. Pierets    Photos Michael James O’Brien

 

When talking to some friends in Antwerp, the name Michael James O’Brien was often mentioned. One couple bought a series of his pictures, another met him in a bar in Antwerp. When searching his name online, one can only produce a shriek of recognition. That picture of fetish legend/corsetiere Mr. Pearl! Dame Edna covered in pink feathers! Our über idol Matthew Barney! Iconic pictures that we’ve known for years turned out to be by the hand of an accomplished American photographer and poet who has exceeded in the field by being showcased in the greatest publications around such as Rolling Stone, L’Uomo Vogue, the New York Times, the Financial Times and many more. Michael James O’Brien. We managed to get his email address and were able to intercept him on his way to Istanbul. 

 

When did you knew you wanted to be a photographer and why?
I was seduced by Walker Evans (and his groundbreaking work) when I took his graduate seminar at Yale in the early 70’s. I bought a Pentax 6×7 & changed my degree from literature to photography.

You come from Ohio and travel the world, yet you are often in Antwerp.
I taught in Ohio for 2 years only but was born in NYC & lived there after Yale until I moved with my partner to Paris in 2004. Now we move around constantly.

Among other things you owned a restaurant, your work has been commissioned by a long list of magazines and you are a published poet. Do you need to do all those things in order to feel fulfilled or are you easily bored?
I like to be busy and do big projects. Writing & photography & owning a bar are all inspiring & satisfying in different ways.

You photograph celebrities as well as dragqueens and performers. You like to be divers in your subjects?
I am attracted to a wide variety of subjects like most photographers. I don’t have one subject matter or a set style.

What’s your most treasured anecdote? 
What comes immediately to mind is a walk with Ursula Andress through the Opera House in Budapest in 1996 preparing shots for Matthew Barney’s Cremaster5 when Ursula began to tell me about her “great loves”. You’ll have to imagine the rest…

You worked with Matthew Barney. How did that happen?
I worked with Matthew when he was a model while he was still in college in the late 80’s. When he began his art exhibitions in NY we often met in what were once called “underground” venues, like the fetish club Jackie 60 & Matthew asked me to collaborate on Drawing Restraint 7.

The people on your pictures often look fragile. Is that something you are looking for? 
I am trying to give room & time when I do portraits for the subject to find their resting place. It becomes more difficult these days with instant photography to make the time.

 

 

‘I am deeply interested in what is called the gender diaspora, in all it’s manifestations & I believe we all have the power to become what we want to be in spite of the “givens” of birth, race etc..’

When did you decide to make ‘Girlfriend: men, women and drag’?
I proposed the project to Random House in 1990 at the height of the Golden Age of NYC downtown nightlife which was often dominated by drag performers.

You seem intrigued by transformation. Why is that?
I am deeply interested in what is called the gender diaspora, in all it’s manifestations & I believe we all have the power to become what we want to be in spite of the “givens” of birth, race etc.

I read you have a fascination for freedom versus restriction. Is that a personal thing? 
It’s equally personal, political & aesthetic but those are inseparable for me.

You do a lot on the subject of AIDS. Why? 
I was in NYC when the epidemic hit like a tsunami. Loss was an essential part of our lives as in a war and the only response was awareness, involvement.

What’s next on your agenda?
Exhibitions in Istanbul in June & in October and preparation for shows in London & Liverpool, as well as commissioned work. And open a bar!

What’s the most important thing on your wishlist? 
To work with less pressure; to re-edit my archive!

 

www.michaeljamesobrien.com

 

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Et Alors? magazine. A global celebration of diversity.

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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