Floyd Grey is a fashion illustrator from Kuala Lumpur who is able to draw both from the realms of the real as well as the fantastic. His light lines of proportion sometimes give way for big-eyed girls holding daggers and dressed for adventure. However, his traditional pen and ink renderings [which I assume are done digitally] of beautiful women in designer clothes are his real expertise. The truth is in the eyes of each one of his figures, since they are illustrated in such a gorgeous way that I’m sure it makes the actual models blush every time they see them.
Dealing with the ups and downs of an independent business can at times be a drag, but getting packages like this in the mail makes all the work worthwhile. I first met Justin B. Nelson when he entered our contest with Colt45. Justin was one of the top ten finalists and his work was entered in our show at Synchronicity Gallery. I loved Justin’s work in the show but was blown away when I met him at the opening. At first I thought Justin had drove an hour or two, but he flew in all the way from Tampa, FL just to check out the show! If that’s not dedication I don’t know what is. Since then, Justin’s been part of the Cult of Decay. We’ve only met each other once but we probably email or send each other tweets at least once a week. It’s amazing to be able to connect with creative people without the restrictions of distance. (The internet kicks ass!)
Anyways back to the package… Yesterday our mailman brought us an envelope all the way from Tampa. it included not only a print of one of my favorite pieces in the Colt45 show but also a note from Justin. It might not seem like much but it’s a great feeling to get feedback like this. We get caught up in all the chaos of running the show and sometimes forget that YOU are out there reading our books, wearing our shirts, and spreading the good word of decay! I’m glad that you guys are out there. Without your there would be no Beautiful/Decay.
P.S. You can check out a larger image of Justin’s print after the jump along with his note. You can also get a copy of his sick print here.
Designer Becca McCharen is the creative brain behind Chromat, a NYC fashion label that artfully merges fashion, design, architecture and — more recently — technology. Chromat’s designs are more conceptual than practical, but still beautiful and wearable: steel dresses, caged masks, and coiled skirts are but a few examples from the label’s fascinating repertoire. Driving Chromat’s unique look is McCharen’s background in architectural theory and urban design. During her studies in architecture at the University of Virginia, she became very interested in scaffolding and building exteriors, especially those whose structure or wiring was visible on the outside (Paris’ Centre Pompidou is one such example). Wanting to experiment with art, fashion, and human “architecture,” McCharen moved to NYC in 2010 and began her “structural experiments” for the body. (Source)
Caging, straps, and corset boning have always been integral to Chromat’s work, but for Autumn/Winter 2014, the design company introduced another element into the art/fashion/architecture triad: robotics. Their new line was called Bionic Bodies, inspired by a love story McCharen envisioned between a human and a robot. The result? Bodies scaffolded like bionic arms and exoskeletons, chromed ribcages studded at the seams, and, most strikingly, faces and bras illuminated with blue LEDs. When the lights are off, the cyborg effect of the LEDs is eerily sexy; have a look at Chromat’s runway video above and see for yourself.
What McCharen and the Chromat crew are creating is more than just experiments in fashion and architecture — their work is fascinating from a theoretical perspective, as well. Absorbed in our daily experiences and emotional lives, we forget that we are, in fact, bones wrapped in muscle and flesh, propelling ourselves through space by the miracle of physics. By engineering such structures on the outside of the body, Chromat celebrates such functionality and mechanical perfection. The parallel between structural facades and fashion is interesting, as well, if we understand fashion as a way to construct our identities and shift the way people interact with us. Like the exterior of powerful structures, Chromat’s revolutionary works exude strength, self-assurance, and impermeability — hence the eerie power and unsusceptible beauty of McCharen’s cyborgs.
Check out Chromat’s online store here. VICE conducted a fascinating interview with McCharen about her Bionic Bodies line. For a discussion of Chromat’s upcoming Spring/Summer 2015 line, read The Glass Magazine’s article.
Credits: A big thank-you to photographer Koury Angelo, who let me share his incredible pictures from the MADE runway show.
Ahh….fame and fortune, who doesn’t need the extra wads of cash and bragging rights? Only a few more weeks to win both for Beautiful/Decay and Talenthouse’s – shirt competition! There have been some great entries so far- so keep ’em comin!
May I remind you that the winner receives a whopping $1000 cash prize and the fame of having their design featured & promoted on Talenthouse.com and printed on a T-shirt!
The design is completely open to your interpretation and can be as creative as possible, as long as it includes the Talenthouse logo in some way. You can create any style of graphic of your choosing—the logo can be either a small element within the overall design, or you can focus on the logo in a new creative way.
This is a chance to have your design be seen and worn around the world! More details after the jump!
I’ve never met Jill Sylvia but I know that she must be a very patient individual to make such meticulous work. Using found ledger papers Jill cuts geometric patterns into the papers grid lines creating delicately powerful geometric abstractions that fall somewhere between the lines of drawings and sculptures.
In the year 2237, after we’ve all been forced to move to the Moon, we will keep warm with these post-apocalyptic future quilts. That is, of course, assuming rumors are proven false and the moon isn’t really the Death Star. Anyway, thats my take on London based artist Roger Kelly’s work. His pieces are not just a random collection of abstract shapes, but on close inspection, fragments of buildings, rocks, and trees all stitched together to create Kelly’s overwhelming vision.
Whether he’s shooting for personal projects or for clients Jean-Yves Lemoigne’s photographs look as if Jean pressed pause during a pivotal scene in the worlds most epic movie so he could take a picture of the scene that was unraveling before him.