MARQUES’ALMEIDA SS19 RESORT ACCESSORIES

Loving the Resort 2019 accessories for London duo Marques’Almeida. Feminine strong and feminine cute, from the bulbous gold sunglasses, heart embellished heels, to the multi-layered handbag. Much to be desired here.

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CHARLES JEFFREY SS18 AD CAMPAIGN

Charles Jeffrey這名字對香港人可能有點陌生(老實講我覺得香港人對大部份設計師的名字都很陌生…)。說他是做了一個品牌,不如說他做了一個邪氣滿天的俱樂部又或者可以直接叫做邪教(你上網google一下他會有很多相關結果哈哈)。他的設計風格極易分辨,越邪氣、越無規條、越混亂的就是Charles Jeffrey了。這個ad campaign就完全讓你看到他的不受規范,活像著了魔的body paint和配搭,Charles Jeffrey這個名字將深深印在我腦海中。


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KA WA KEY LABELHOOD SHANGHAI PRESENTATION PT2

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All photos including Top Banner by : Nick D for precursorprints.com

See PT. 1 HERE. < < English continues below after the Chinese >>

粉末代表什麼?
粉末代表了自由,某種形式的噴發,甚至可能是性高潮,以及那種驚人的感覺。 當慾望帶走我們時,感覺很好,對嗎? 在那些時刻,我們想要感慨一下。 粉末也是非常直觀的元素,在照明和皮膚上看起來很好,並且使皮膚變得“髒”,當我們屈服於我們的慾望時,特別是當它們超出規範時,我們常常感覺有點“髒” ,因為那是我們不應該想要的東西。

你們在那裡找到你們的模特兒?是否最終由Labelhood提供?
我們做了street casting。我們問了朋友,什至朋友的朋友成為我們的模特兒。有此模特兒的聯絡資料是由Labelhood提供的。我們希望有不同的人混合成為我們的模特兒,一個很巨大的圈子。我們十分滿意他們的表現,不止他們的表演、動作。我知道有些模特兒是很嚴格的。例如,有一個模特兒在排練是前分鐘就到達了。他做了很棒的工作,而且繼續觀察和適應。

我們喜歡在工作中有一定的脆弱性。這些東西不是排練得很好,但保持了一些興奮,並推動每個人都盡力而為。 它顯示了一個真正的原始性。 每個人都投入到表演中,我們有非常好的團隊合作。 非常感謝我們前任實習生Jenny,我們今次的助理導演,而且幫我們完成了所有的翻譯。

你喜歡更多的概念表演多於傳統的時裝表演?
對於我們的品牌來說,展示我們作品的概念性表演更具有相關性,因為我們能夠展示系列的想法,並通過我們的表演來講述故事。 我們要講故事和敘述,因為它們是我們工作的重要組成部分。 受眾看到的是一個怎樣的故事。 我們希望每個人都帶上一個最適合他們的故事。

What did the powder represent?
The powder represented freedom, certain kind of eruption, maybe even orgasm, and the amazing feeling after that. When desires take us over, it feels good, right? In those moments we want to feast with the feeling. The powder is also very visual element, it looks good with the lighting and on the skin and makes skin “dirty”, like very often we feel a bit “dirty” when we give in to our desires, especially when they are out of norms, when they are something we are not supposed to want.

Where did you cast your models from? Were they provided by Labelhood in the end?
We did street casting. We asked friends, and friends of friends to model for us. Some of the model contacts were provided by Labelhood. We wanted to have a mixture of models, some with a performing background, which was a massive, massive plus. We are super happy with how all the models performed, not just modeled, performed. We know what we had our models do was quite demanding. For example, one of our models arrived just minutes before our first, and only rehearsal. He did amazing job and nailed it; adapted and observed. We like to have a certain fragileness in our work, something that is not too rehearsed, and polished. This keeps up the excitement, and pushes everyone to do their best. It shows a real rawness. Everyone threw themselves into the performance, we had very good team to work with. A massive thank you belongs to our amazing former intern, Zuoran Li (Jenny), who worked as an assistant director, and did all the translations, and everything with us.

Do you prefer more conceptual presentations vs traditional runway shows?
For our label, a conceptual way of showing our work is more relevant as we are able to showcase the idea of the collection and tell the story through our presentation. We want to tell stories and narratives, as they are an important part of our work. It’s up to the audience what kind of a story they see. We wish everyone to take with them a story, which suits them the best.

Stay tuned for our full interview with KA WA KEY coming soon!
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KA WA KEY LABELHOOD SHANGHAI PRESENTATION PT1

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All photos including Top Banner by : Nick D for precursorprints.com

One of the best presentations we were able to catch at Labelhood Shanghai SS18 was put on by our friends Ka Wa Key. We asked Jarno, one half the dynamic duo to explain what we saw and photographed for you. Check it out. Part 1 of 2. < < English continued after Chinese >>

在上海SS18 時裝週,其中一個在Labelhood 最好的表演是我們的朋友 Ka Wa Key展示的。Jarno,其中一個設計師為我們解釋一下你將看到的照片!PART 1 & 2! Gogogo!

可以介紹你在Labelhood那場表演的概念吧?
那個是啟發自皇家芭蕾舞團「變形記」的啟發。我們在Labelhood的表演中展示了一個變形,回應他隱藏的秘密、慾望和執著。 這是一個夢,有些浪漫,甚至關於性,但同時我們有點搞砸了。 這是我們想做的事,卻不一定有勇氣去完成。 表演是關於蜕變和變化。 我們之間所發生的事。 演出混合了動作表演和傳統時裝表演, 很大程度上依賴於服裝和模特的動靜。 我們還想在幕後發佈一些通常只在後台發生的事情,例如在觀眾面前換衣服。 在一天結束的時候,這個時裝表演會是很重要的一部分。

在表演中,有一個“男人”,他發現了他的夢想、想像力、頭腦或任何隱藏的慾望。 他一個接一個地揭示了他的慾望。 起初他有些害怕,但之後開始塑造他的慾望,試圖控制、甚至改變他們。 但他無法做到這一點,他的慾望就像現在一樣出現。最終將他們的圍巾和衣服脫掉,做真正的自己。 最後唯一一個保持不變的人是戴著圍巾的“男人”,他害怕向自己洩露自己的慾望。

“擺脫誘惑的唯一方法就是屈服。 抵制它,你的靈魂因為渴望自己所禁止的東西而生病,使渴望它的可怕變得怪異和非法。“ – Oscar Wilde

覆蓋模特兒的面孔,這是你最近的一個不停重複的做法。 它代表什麼?
是的,這是我們近期工作的一部分,也會繼續使用。 面具總是有些神秘的東西。 這也是我們SS18敘述的一部分,以及我們的Labelhood的表演。 在演出中,它只是隱藏角色的真實身份。 唯一沒有揭開他的臉和眼睛的角色就是“男人”。 他也是唯一一個保持不變的人。 最後他是唯一不符合標準的人,仍然留在自己的衣櫃裡。 正如我們所說,眼睛是靈魂之窗。 我們也想把注意力放在服裝和款式的表現和動作上,因為我們的表演主要是基於這樣的。

Can you tell us about the concept for your presentation at Labelhood?
Our presentation was inspired heavily by the Metamorphosis performed by the Royal Ballet. Our presentation at Labelhood showcased a twink’s transformation in response to his hidden secrets, desires and obsessions. It is a dream, something romantic, maybe even a bit sexual, but at the same time something a bit fucked up. It’s something of what we want to be but don’t necessarily have the courage to be. The presentation is about metamorphosis and change. What happens inside us. The presentation was a mixture of movement based performance, and traditional catwalk; heavily based on the movement of the garments and models. We also wanted to unveil something that usually happens behind the scenes, at the backstage, changing the clothes this time in front of the audience. At the end of the day it is such an important part of fashion shows.

In the presentation there is “a guy”, who discovers his hidden desires in his dream, imagination, mind or pretty much where ever. One by one he unveils his desires. At first he is a bit afraid, but eventually begins to mold them, his desires, trying to control, and even change them. He doesn’t manage to do so and his desires come out as they are, eventually removing their scarves and clothes, being exactly what they are. Eventually the only one who stays the same is “the guy”, wearing his scarf, being afraid to reveal his desires to himself.
“The only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing for the things it has forbidden to itself, with desire for what its monstrous laws have made monstrous and unlawful.” – Oscar Wilde.

The covering of the model’s faces, this is a repeat motif for you recently. What does it represent?
Yes, it’s been part of our work recently, something we like to use every now and then. There is always something mysterious about masks, people covering their faces. It’s also part of the narrative of our SS18 collection as well as our Labelhood presentation. In the presentation it represents simply hiding the character’s true identity. The only character who doesn’t unveil his face and eyes is the “guy”. He is also the only one who stays as he is. Eventually he is the only one who doesn’t fit the norm and still stays in his closet. As we say, eyes are the window to soul. We also wanted to draw the attention to the garments, the performance and movement of the garments and models, as our presentation was heavily based on such.

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繩繫/STRINGS ATTATCHED. SUBAY KINBAKU, SHIBARI ARTIST

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Jennifer wears 連身套裝/jumpsuit – Maison Margiela MM6

Photos : Nick D for precursorprints.com
Translation : Lil Fly aka Caroline Chan
Model : Jennifer Nguyen _jenuinelove
Assist : Jose Chu, Kammy Kam

Shibari means “to tie” in Japanese. The word has now been co-opted to describe the artistic Japanese style of rope bondage. A girl in Hong Kong has been making headway in this artform and it was time to talk to her about her burgeoning talent. It was time to satisfy our sexual urges and ask her to explain what she was doing, and what we are looking at. Let’s break bread with Ms. Subay Kinbaku.

<< ENG CON’T AFTER CHINESE >>

日文 Shibari 有“綑綁”的意思。這個詞彙現今泛指日式繩縛美學。而在香港,有位女士在這個藝術平台開始取得穩步進展。我們找來她介紹一下這個特別的藝術,以滿足我們的性慾望之餘,更了解一下她從事的到底是什麼,我們欣賞的又是什麼。現在有請Subay Kinbaku 小姐。

SPITGAN : 你好,Subay, 請你說一下你在做的是什麼。
Subay Kinbaku : 我是一位駐港的Shibari藝術家,亦視自己為一位表演及教育者。我大約在兩年前開始舉辦Shibari的活動;由於舉辦Shibari活動的場地比較難找,於是我在一年前開了一間專為Shibari而設的工作室。我曾在香港及國際等地演出,而在香港舉辦的活動大都是表演同工作坊。但我最希望的是教育群眾有關Shibari的文化而不是想成名,於是最近我決定退出舉辦活動這個範疇,並專注在商業計劃上面,這個我等一下再解釋。

SP : 為什麼要退休?這個對我來說是新聞。
SK : 過去兩年,我花了很多時間及心血去教育圈內甚至圈外人,但到最後發現要改變一個人的觀念好難,開始讓我感到挫折。在圈內有太多drama,有些人只想藉著這種藝術去出名或者引人注目。我覺得這扭曲了藝術的原意。對我來說,Shibari不只是一種身體的狀態,或者兩個人的連繫。最重要的是個人思想及態度。我覺得時常保持謙虛的心非常重要,這是我在日本學習時的領會。它有點像柔道,練習時要帶有非常純潔的心,而我覺得好多人都欠缺。這開始令我非常反感。

SP : 你覺得這種態度只會在香港出現,還是到處都是?
SK : 我覺得好多國家都有這個問題。只是在香港群眾沒有接受太多有關Shibari的教育。完全了解的人和那些自以為了解、但其實並不的人的比率很不平均。

SP : 是什麼令你對Shibari產生興趣?
SK : 四年前因為BDSM我發現了Shibari。哈哈。四年前的我真的好無聊,所以開始上網找一些BDSM的聚會…

SP : 什麼是BDSM?
SK : BDSM是綁縛與性調教的縮寫(Bondage & Discipline,即B/D),支配與臣服(Dominance & Submission,即D/S),施虐與受虐(Sadism & Masochism,即S/M)。開始時我只對這個有興趣,並沒有聽過繩索同束縛。我會稱它比較像用手銬、皮鞭等等的東西。我在其中一個聚會中遇到一對對Shibari好有興趣的情侶,並開始當他們Shibari的模特兒。而開始學繩綁其實是因為一場意外所至:有個美國人想在香港舉辦一場繩綁工作坊,當時我好有興趣當他的模特兒,於是向他自薦。當時他說了一些像「你不夠漂亮, 又不纖瘦,我也不覺得你有吸引力,為什麼我要綁你?」 因為他的話我當時很不開心,於是我決定開始學。首先是因為我想可以自己綁起自己,其次我想讓人知道這種藝術不一定要自我。所以開始的時候我嘗試了很多自體懸吊法,亦去了美國同英國等地參與一些活動。但其實當我去日本上課的時候,才算真正開始學習。

SP : 去日本跟日本人學習這個,對你來說是否重要?
SK : 是的,因為真的有很大的分別。在西方,他們只會專注在安全性和形式,及怎樣去綁等。在日本他們反而更關心的是你能否透過繩去達成某種連繫。

SP : 這個很有趣,原來在不同地方,有不同的專注點。
SK : 其實現在很多西方國家開始明白日本所著重的連繫的重要性。亦都開始在教學的時候包含這個元素。

SP : 所以連繫本身並非西方國家風格的主要部份?
SK : 我會說不是。舉個例子,現在在倫敦同巴黎,甚至其他比較大的城市,有比較多的群眾。好多人會去日本然後將日本的元素帶回自己的國家。但還是有好多其他地方未受日本影響,他們要不做一些混合的風格,要不完全受西方風格影響,像會用繩去編織。

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