23/10/2013

Eric Jonrosh’s “The Spoils of Babylon”

Any geek who’s ever dreamt of David Lynch, PT Anderson, and Ron Burgundy collaborating on an epic American saga are likely to go bananas over Eric Jonrosh’s “The Spoils of Babylon”, Will Ferrell’s bizarre new IFC miniseries. The show, which the network is wisely calling “the century’s most anticipated television event,” appears to be a parody of the campy, grandiose TV movies of the baby boomer era. Whatever it is, it looks amazing.


“The Spoils of Babylon” was created by Funny Or Die‘s Matt Piedmont and Andrew Steel and revolves around the Morehouse clan, an eccentric Texas family who strike it rich in the oil business. Ferrell will portray Eric Jonrosh, the fake bestselling author of the fake bestselling book on which this very real miniseries is based. Tim Robbins plays patriarch Jonas Morehouse, while Kristen Wiig stars as his daughter Cynthia and Tobey Maguire as her adopted brother Devon. Cynthia and Devon fall into a deep and forbidden love that takes them across the world and threatens their family fortune. Judging from the bizarre preview, the series will touch on major events from the 20th Century through the trials and tribulations of the Morehouse family, a la Forrest Gump. In the trailer Devon goes from the family farm to Vietnam, then comes back and goes hair metal, and eventually appears to fall into a drug-infused trip across the American south. “I kicked heroin,” he tells Cynthia at one point. “I can’t kick you.”

In addition to Robbins, Maguire and Wiig, the all-star cast includes Haley Joel Osment, Jessica Alba, Carey Mulligan, and Val Kilmer. Each episode will be bookended by Jonrosh, whose other fake titles include The Spoils of The Weeping Falcon and The Spoils Beneath The Sea. “Fearing that Hollywood will sully his masterpiece,” one recent press release read, “Eric Jonrosh wrote, directed, and financed the series himself.” What could possibly go wrong here?

“The Spoils of Babylon” airs January 9 at 10p.m.

Lane Koivu 
22/10/2013

A Note on Copying in Design

Jim Jarmusch, the famous film director, once said that nothing is original. In fact, the fifth (and final) point of his ‘golden rules’ manifesto goes as follows: “Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is nonexistent. And don’t bother concealing your thievery. Celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: ‘It’s not where you take things from – it’s where you take them to.’”


But would Jarmusch have been right if he were speaking about design instead of film-making? If applied to design, where can this rule about copying take us to? The issue might be much more complex than it appears. On one side, the first things design students hear on their first day of school is probably originality and authenticity in their practice, on the other hand we witness every day pieces of historical design being embodied, in one way or another, in new ones. So how can we understand copying and originality in design? Does the concept of copying in design even exist?

Legally, at least in the United Kingdom, it does. In fact, deliberate copying has become a criminal offense in the UK and a bill to extend copyright protection on industrial design has already been passed, even though the extent to which it can be applied and the criteria of evaluation will surely be dubious, as will be the products, companies and designers it aims to protect. While it might be fairly easy to protect Herman Miller‘s or Vitra‘s rights against low-cost brands reproducing their furniture and bringing it to the masses (the once ideal consumers of their products), things might get a bit tricky with one-off projects and concepts, as can be seen in the dispute behind the olympic cauldron designed by Thomas Heatherwick, which saw New York-based studio Atopia claim they presented a strikingly similar project back in 2008.


These two cases, completely different and particularly marginal to everyday design practice seem to highlight only a brink of difficulties that need to be tackled when discussing authenticity in design. On the other hand, this type of discussion should also take into account the very nature of design practice, which is to make our lives better through objects and services. If this means taking an existing chair and making it become more comfortable, then this should be a valid design project. Or if it means taking centuries old vases and contextualizing their design to contemporary use, this also shouldn’t be put discussed in terms of authenticity. So how far can we actually define copying in design? Probably, it is the very nature of everyday design practice itself that demonstrates it is an utter waste of time.

Rujana Rebernjak 
22/10/2013

Folklore in Fashion

Focusing on comfortable fabrics and ethnic patterns, designers such as Valentino and Marc Jacobs sent a slew of folk-inspired pieces down the S/S runways during the recently passed fashion weeks.


Folk is often associated with a certain type of traditional music from the 19th century, which often encompassed a crowd of people playing their own instruments outdoors and just enjoying the moment and atmosphere with those around them. When talking about fashion, you can though forget all that; the folk trend now takes inspiration from the ancient traditions and cultures. It’s romantic, exotic and ethnic; with embroideries, patterns and beadworks. To bring the cultural history to the wardrobes of the 21st century women, all the details need to be perfectly balanced with the form and function, with contemporary construction.

From the catwalks to the streetstyle, the world all over is featuring the rise of folk-inspired vintage prints and silhouettes arising from different cultural influences.

Chiara Tiso 
21/10/2013

Style Suggestions: Rainy Days

When comes fall, comes rain. City life or country weekends, we’ve all been at the crossroads of aesthetics and function. This season we’re charging our wardrobes with the pieces that leave the struggle behind and head out, dancing in the rain.

Ring COICOI, boots Burberry, red trench Coach, dark coat and the bag Stutterheim.

Styling by Vanessa Cocchiaro 

21/10/2013

Art/Fashion in the 21st Century

Fashion weeks have just finished and along with the many trends for next season, one could see a lot of references to art on the catwalks – from Prada‘s murales to Cèline‘s Brassaï, up to Louis Vuitton – and there would not probably be a better timing to present Art/Fashion in the 21st Century, a book that investigates on how fashion and art have been closer and closer during the new millennium. Written by Mitchell Oakley Smith, Alison Kubler and Daphne Guinness, the tome offers a perspective through 238 illustrations on the relationship between artists and designers and how they open and share their own field to the other.

The five thematic chapters the book feature several designer profiles, avant-garde projects and special interviews with leading figures in the art-fashion crossover. Acne Studios, Balenciaga, Chanel, Hussein Chayalan, Jean Paul Gaultier, Marc Jacobs, Stella McCartney, Issey Miyake, Prada and Juergen Teller are just few of the names in the book. Leafing through the book is like taking a trip inside the two most creative areas to understand how they can inspire each other and where is the limit between one and another.

Francesca Crippa 
18/10/2013

Story of a Classic: Smells Like Teen Spirit

Many great songs have been inspired by an unlikely source, we suppose. Though, probably no other of them has been inspired by such an unlikely source, that is, a very girly brand of deodorant. Yes, the inspiration for the title of Nirvana’s biggest hit, “Smells Like Teen Spirit”, a powerful, angst-driven Rock anthem that shook an entire generation out of their decade long slumber of 80’s caricature-like rock stars, came from a cosmetic product named “Teen Spirit”.

At the time the band was very much still crafting their sound, preoccupied with their indentity, what they should and should not be doing as a band, with the biggest predicament being how to remain genuine, true to themselves as artists, while being able to appeal to the masses. Bringing a range of almost polar opposites together in the quest for their unique aesthetic – such as soft and hard, slow and fast, heavy but melodic and angry but poetic – they managed to achieve exactly what they set out to with their second album Nevermind, where “Smells Like Teen Spirit” was featured. Drawing influence from other great Rock bands that had preceded them, and although again almost polar opposites, Nirvana kind of became an amalgam of the Beatles and Black Sabbath, which is exactly what Kurt Cobain once said to his band mates jokingly, in order to explain what he was going for musically. Additionally, by using the slow-hard dynamic exploited massively at the time by The Pixies, another group Nirvana had been deeply influenced by, they put together one of the greatest Rock albums of all time.


As for the title of the album’s biggest hit, the story goes something like this. Kurt’s girlfriend at the time used a deodorant named “Teen Spirit”, triggering a mutual friend of theirs, Kathleen Hanna, to create a somewhat historic piece of graffiti as a prank. “So one night we went out and we were all fucked up. It was me and Kurt and Kathleen Hanna. Kathleen had some spray paint and she spray painted ‘Kurt smells like teen spirit’ in Kurt’s room,” Nirvana drummer and Foo Fighters lead vocalist and guitarist, Dave Grohl recalls.

A silly gesture that was made to tease Kurt, came to be a slogan for an entire generation.

Andreas Stylianou 
18/10/2013

The Art of Taking Tea

Few things seem more whimsical, luxurious or delectably enticing than a London afternoon tea. Fueled by a love of exotic blends, scones, unconventional cocktail accompaniments, overdressing and sandwiches I’ve uncovered five of the most beguiling afternoon teas you can enjoy in the English capital.

The Quirky Option
Tucked away behind the bustle of King’s Cross is a retro, art-filled and music loving venue that excels at being different. Drink Shop & Do serves up a Bellini accompanied afternoon tea that makes you wish you’d worn a few more of your grandmother’s pearls (and thought to curl your hair). It consists of simple sandwiches on vibrant bread accompanied by steaming sultana scones and homemade cakes that inspire you to be a domestic goddess. Homely, perfectly 50’s and wonderfully quirky (with wooden floors, a retro piano, cake laden counter and giant origami), this is afternoon tea with a DIY twist.

The Sweet Tooth Option
For a decadent, traditional and thoroughly friendly experience make for the Langham. This iconic London hotel, frequented by Oscar Wilde and a favourite of the BBC crowd, is ideal for those with a soft spot for the sweeter (or should that be finer) things in life. While being soothed by the melodic tunes of the hotel pianist you’ll dine upon glitter and rose adorned cakes designed to match the season and teas that are more than a little flavorsome.



The European Option
The Wolseley is an Art Deco hideaway that blends marble opulence, vintage elegance and a perfectly classic afternoon tea to create an Old World experience and keep the European café tradition very much alive. In this venue, watching loyal patrons pass a leisurely afternoon in their finery, hours simply slip away.

The Get Out of Town Option
Few things feel as fanciful as sitting by an open window, overlooking the fast flowing Thames, as the leaves begin to turn and you dine on macaroons the colour of a London sunset. Sinking further into a rich leather couch in The Bingham, a Richmond institution, you feel a million miles from the bustle of the city and, filled with lighter than air sandwiches and cheesecake that’s rather moreish, find it a tad difficult to suppress the urge to wander through water meadows. City meets country indeed.


The Designer Option
For something more fashion-focused make for the hallowed halls the Berkeley for Pret-a-Portea. Aimed at the London fashion set – who rarely conduct meetings over anything but afternoon tea (or cocktails) – this offering has a bit of a twist; the sweet treats are styled after key fashion looks of the season. Think Burberry trench cookies and Mulberry orange cake handbags – classic culinary bliss with a rather feminine feel.


Liz Schaffer 
17/10/2013

Costa-Gavras Does Not Like Happy Endings

Near the end of their talk at the Brooklyn Academy of Music last Tuesday night, host Paul Holdengräber leaned back in his chair and turned to Costa-Gavras. “One could say you’re quite interested in unhappy endings.” Gavras, the famed French-Greek filmmaker known for political thrillers like Z and Missing, revealed his distaste of the Hollywood tradition. “The little guy always wins,” Costa-Gavras said. “You go home feeling well and go to sleep feeling well. But that’s not real life.”

The talk was part of the Onassis Cultural Center’s Profiles series. Gavras’ new film, Capital, which opens at the end of the month in New York, takes Gavras’ hatred of political oppression into the financial realm. The movie explores the evils of capitalism, via a bank executive who lands in the CEO chair and immediately starts courting stockholders, firing underlings, and fucking up his family. Money, he explains to his distraught wife, makes people respect you. Unlike Wall Street, the little guys here not only don’t win, they get crushed. To research the film, Costa-Gavras poured over the financial pages, talked to bankers, and dove deep into economic history. One banker told him, “Democracy is a placebo. We belong not to the people, but to the most important stockholders. Because if we don’t do what they want us to do, they change us.” Fitting, then, that the first movie he ever remembered watching was Erich von Stroheim’s Greed.

Gavras has spent his life using film as a tool to expose political injustice. But now, at 80, he wants to make a musical, though he doesn’t know what about. (“If I knew,” he said, “I would have made it already.”) At one point in the conversation, Holdengräber asked Gavras, given his oeuvre, if he saw himself as a political filmmaker. “I don’t. I never accept the idea of ‘political film’. I think that all movies are political. I never say to myself, Ok, now I will make a political movie. That’s ridiculous. I say, this story interests me.”

Lane Koivu 
17/10/2013

Style Suggestions: Autumn Colours

With the Autumn breeze blowing through, let your wardrobe be inspired by the colour palette surrounding you.



Bordeaux: coat Marc by Marc Jacobs, sunglasses Matthew Williamson, shirt Erdem, pants Tory Burch, necklace Jennifer Zeuner Jewelry, shoe Sigerson Morrison.
Orange: coat Stella McCartney, bag Globe Trotter, skirt Rag&Bone, sweater Maison Martin Margiela, shoe Chloé.
Lilac: dress Marc by Marc Jacobs, earrings Lizzie Fortunato, bag Fendi, boot Sergio Rossi, eyeglasses Charlotte Olympia, eyeshadow Tom Ford.

Styling by Vanessa Cocchiaro 

16/10/2013

A Suit Story

Whether it’s your every day attire or you only wear it for special occasions, a suit needs to be well-tailored. Quality and fit should be on the priority list. A suit in itself is a statement and once we make a statement, it should be a strong one. President’s, one of the brands on The Blogazine‘s to-watch-list, is a brand that takes the art of suits seriously.


With knowledge passed down through the generations, President’s crafts their full collections in the heart of Tuscany, a few kilometres outside of Florence. Even though entirely crafted in Tuscany, the brand is in constant search for quality and travels the world to find what they search. For the Autumn/Winter 2013-14 collection, President’s went to one of our sartorialist friends, Loro Piana. From the exquisite fabric, a blue 100% wool Super 120, to the genuine horn buttons as a last fine detail, the suit is constructed with care and the hours of work put into the tailoring of it can be seen through the slightly transparent rib stop in 100% Japanese nylon.


It’s already understood that the projects of President’s are fueled with a passion for authenticity and excellence and even though Italy lies near to heart, President’s seem to have a fondness of the British gentleman as well. After a collaboration with UK masters of shoes, Solovair, the brand went English also for a wool suit with fabrics by Dugdale & Bros. The English company is historic when it comes to producing fabric for high-end clothes. The suit, also this one produced for the A/W13-14, combines elegance with a raw feel and perfectly fitted jacket. The pants are detailed with a welt pocket – a detail for the eye, or for the loose change money you’re carrying around.

The wardrobe of President’s remains on the edge between streetwear and the classical pieces for any contemporary man. From a standard pair of denims, cotton shirt and cashmere sweaters to suits for a guy with taste, this young brand succeeds to propose pieces that work season after season.

Lisa Olsson Hjerpe – Images by Matteo Cherubino 
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