Rolls Royce’s best customer, the Indian guru Bhagwan Shree Rajneesh was the compelling, albeit fairly silent, star of the recent Netflix documentary, Wild Wild Country.
Dressed in his long-flowing finery he was surrounded by his adoring followers all wearing a spectrum of reds.
Left - The cult's followers wearing their red colour palette
Also known as Osho, the story followers the Bhagwan, his one-time personal assistant Ma Anand Sheela and their community of followers in Rajneeshpuram, aka Antelope, located in Wasco County, Oregon during the 1980s.
Right - The Bhagwan
This commune was a place of free love and followed the teachings of the Bhagwan. His taste for the finer things in life - 93 Roll Royces! - is part of the madness of it all.
Left - Uniqlo - Men Supima Cotton Crew Neck Short Sleeve T-Shirt - £9.90
The reason they wore reds was to represent “the colours of the rising or setting sun”, as well as beaded necklaces with a locket containing a picture of the Bhagwan's face. It’s fascinating how everybody is wearing something different while conforming to the same colour chart.
I’m expecting Pantone to release a ‘Bhagwan Red’ next year, which would be a crimson/berry red. But you can get in early by buying anything on this colour chart with no logos or branding.
Left - Berska - Bomber Jacket - £19.99
The community imploded, but I won’t spoil it. Let’s just say it makes me rethink about eating from the salad cart at the local Harvester!
Left - American Apparel - Cranberry Hoodie - £34
Left - Spoke - Coral - £89
Left - ASOS - Skinny Smart Trousers In Strawberry Red - £20
Left - YOURTURN - Dip Dye T-Shirt In Red - £12 from ASOS
Left - Ted Baker - Proshor Chino Short - £69 from House of Fraser
Left - Rivieras - Classic 10 Canvas Loafers - £50 from matchesfashion.com
Left - Buscemi - 100mm Guts Red Leather Hi-Top Trainers -£670 from Harvey Nichols
More Get The Looks - The Assassination of Gianni Versace - here
It feels like we’re one data breach, revelation or exposé away from deleting Facebook. Not to mention all the other platforms. Some of us have been on these social media channels for nearly a decade and we’re tired. Social media is starting to feel a bit of a chore and people are reassessing their relationship with it. The novelty factor is waning and it seems like we’re bored of seeing the same images repeated and, even those who’ve made it their business to ‘influence’, via social media - ‘Influencers’ - seem bored themselves of making and posting the same images.
“There’s definitely a sense of content and Facebook fatigue and more importantly, a loss of trust. As a first-gen blogger, it was trust that built our communities ten years ago and that was in no small part because at that time blogging was purely a passion project, not for commercial gain,” says Navaz Batliwalla, editorial consultant and blogger at Disneyrollergirl.net
“The reason social media content has become formulaic is down to the cynical commercialisation of it all. To reach mass eyeballs, your content has to be fairly mainstream which is why so many blogs and legacy media have adapted similar aesthetics and tones of voice. It’s diluted the uniqueness and personality. Inevitably, it becomes a slog to create that sort of formulaic content too, so the creators themselves get bored - and it shows.” says Batliwalla.
Instagram has clearly peaked and it being the centre of brands’ and people’s focus is changing. There are only so many flat-whites or magnolia trees people are going to be interested in. It’s all got very annoying and basic.
Instagram recently made changes so people can no longer manipulate engagement and artificially increase following. Those who think they’ve got more engagement than Elizabeth Taylor will now have to rely solely on the whims of their ‘followers’ and it’s almost certain they won’t be able to sustain their likes and followers in a market that is mature and growing bored.
“For me, the big content killer has been the algorithmic changes. Bloggers who relied on Instagram for their main income have panicked as their engagement plunged since the introduction of Instagram’s changes last year. I noticed certain tactics like comment pods and lengthy over-shary posts, a kind of desperate click-bait attempt to keep followers interested. It’s also the reason for so many more ‘look at me’-type posts because selfies and outfit posts tend to get better engagement on Instagram. But again, with certain influencers, it just doesn’t come naturally and it’s a turnoff to their followers. I'’ve been there myself! Finally, the sheer volume of sponsored posts is exhausting to read. It’s too much.” says Batliwalla.
For me, it was when they allowed you to save your best Instagram Stories - ‘Story Highlights’ - that I felt like this had become a job and required too much thought, rather than something fun and interactive. The more things they introduce, the heavier it all becomes. You see people tapping away on their Facebook accounts on their phones on the train: liking pictures, commenting and keeping up. It’s like a full-time job. People will reduce the amount of their free time they spend on these sites.
Even the biggest ‘Influencers’ can’t rely on their numbers. Just look at people like Ella Mills - Deliciously Ella - 1.3m Instagram followers, closing her delis, Millie Mackintosh, reality star and influencer - 1.3m Instagram followers, folding her clothing line, and the ultimate influencer of all Victoria Beckham - 19.6m Instagram followers, made around 60 workers redundant recently after new investors ordered a review of the business.
We do have to acknowledge the green-eyed monster in the reporting of Influencers, especially by traditional press. These attractive people living their best life and getting paid to do it. Beats working in McDonald’s. But, it’s got crowded, they’re not cute forever and we’ve all seen that ‘wow’ picture before. Ultimately, unless they’re traditionally famous, have a respected talent or you fancy them, why the fuck do you care about what they are doing? It seems strange that so many people are supposed to care about people they don’t know. They don’t.
Christophe Brumby, Creative Strategist at Amplify (brand experience agency for clients like Facebook, Google and Spotify) says, “As publishers see their influence wane and as Influencers fight for control, everyone is taking matters in their own hands… What we are seeing as a result is a new age of convergence where publishers such as Refinery 29 are turning their staff into influencers and where influencers are starting their own publishing ventures with the likes of Street Dreams, a collective of creators rooted in photography, bringing their community offline through a print magazine, photo walks and shows. It may not be long before we see publishers and influencers teaming up together to maintain relevance with their audiences while reducing their dependence on social platforms.”
“Social media did not invent influence but in bringing the ‘social’ into traditional media, they dramatically changed the rules of the game. Social media have atomised and democratised influence, effectively transferring power from the traditional media to every individual user; turning everyone into a potential influencer capable of measuring their personal media value,” says Brumby.
“Despite a rise in marketing spend, many influencers argue that the current model is not sustainable as platforms and brands are taking advantage of a highly fragmented landscape where they do not hold much leverage as individuals. On the one hand, they are increasingly reliant on the platforms that ultimately own their audiences and dictate the rules of engagement, often feeling at the mercy of sudden algorithm changes," says Brumby.
In a recent article in the Financial Times about the death of Influencers, it quoted a fashion PR director saying, “Whatever you do — don't market yourself as an Influencer. Stick to journalism. That's a proper craft.” There's definitely a feeling of distancing themselves from the label 'Influencer'.
Robin James, digital content producer, Youtube creator and blogger says “I don’t use social media in my personal life. It’s not real life and I find it exhausting, It takes a lot from you without giving back and a feeling of you’re missing life. That said, there’s a flip side, Instagram Stories is the real side of what ‘Influencers’ are up to.”
“Audiences are going through Instagram double tapping without reading and being social media zombies. In terms of business, I produce stuff with more thought and heart and not just a pretty picture. That sort of production and quality of content will survive. I tried to take the production down slightly to be more connected to an audience and become a bit more raw,” he says.
James recently qualified as a barber to give himself more expertise in the grooming arena, “I decided to do that to have a lot more authority, and become an expert in an area. One was editorial and secondly, was commercially: I can do this, I can cut and style it. I trained for six months.”
So, what’s next? What would we do with all that spare time if we reduced our ‘socialising’?! I think there’s a place for something like Facebook, but more a Wikipedia model of philanthropy. Run just to wipe its face, it would be more like what a lot of people think Facebook is rather than a huge marketing site.
I think we’ll see a return to searched for, permanent, or as permanent as the internet allows, content. People looking for something and finding a trusted voice.
Everybody is striving for authority and longevity. I think those ‘Influencers’ who have nothing to say or say nothing with disappear. The rest will have to evolve to beyond just the visual and sound bites as the audience matures and also, no doubt, the next wave of young consumers will be into something else.
Will we see the end of thirsty attention seekers seeking validation on Instagram? Probably not, but I think it’s definitely had its moment. Marketeers, who always take a while to catch up, will continue to chuck money at this for a little while yet, but it’ll fall off soon.
But where do we go next? Good print isn’t dead, but, ultimately, it’s digital.
“I’ve noticed a renewed interest in long form content, more like essays. People are yearning to read blogs again. Informed opinions, observations, not just news and product reviews. I write a monthly insights email (called The Beauty Conversation) with two beauty industry colleagues and we’re nurturing our community to build trust and engagement. It’s not about numbers at all, but the relevance and quality of our audience and our niche content.” says Batliwalla.
Everything has become so disposable and ultimately forgettable. This is the modern life we live, but it will bounce back, not fully, but partially.
Can you remember when you met somebody new and you’d say “What’s your Instagram?” That's stopped. I can’t be bothered anymore. It’s full and I don’t want to waste more of my time deleting accounts. As the Instagram hysteria subsides it will take the pressure off ‘reach’ and ;followers; and plateau into a record of pictures for genuine friendship groups.
All those ‘Influencer Marketing’ companies that have popped up with have to move into digital marketing and have a broader scope. I used to joke that there were more platforms than Clapham Junction. It just doesn’t feel funny anymore.
Read more expert ChicGeek Comments - here
When I saw an article advertising a new fashion documentary on André Leon Talley I knew we’d reached 'peak fashion documentary' territory. The larger-than-life (in-life?) American Vogue editor-at-large has a film called “The Gospel According To André” coming out in May.
Left - The new Alexander McQueen documentary by Embankment Films Read TheChicGeek Review - here
It charts his humble beginnings growing up in North Carolina to being one of America’s most well known fashion characters.
He just adds to the many designers, brands and egos who have released documentaries over the last few years. We all know how the treatment goes: a new designer diarising their first ‘crucial’ collection, a celebration of an eccentric fashion ‘icon’ or a big opening or event and the drama surrounding it. It’s all played out in the 90 minutes or so of devoted film. Done.
It’s all very watchable content, even for those who wouldn’t know their Simone Rocha from their Ferrero Rocher. Most recently we’ve had Westwood, Blahnik and Noten get the fash-doc once over, and with a new McQueen one on it’s way, the output shows no signs of slowing down.
"Fashion has become something of an entertainment industry, and the fashion doco' is an effective way of educating an audience keen on learning about the fashion industry's players, its big brands and the myths that surround them. Expect a lot more,” says Jamie Huckbody, European Editor for Harper's BAZAAR Australia.
Netflix and the like needs content and fashion is a truly visual medium with many can’t-make-them-up type characters perfectly cast in their Devil Wears Prada roles.
I wanted to write something about the rise of the fash-doc and its growth for while, but it was a visit to the London Book Fair that got me thinking about the reason why we’ve hit peak fashion documentary.
It’s basically replaced the fashion book for the younger generation.
There are definitely less fashion monographs being produced on brands and designers ATM. Large, definitive books just don’t seem as cool anymore, and feel almost dead in comparison to the documentary.
There’s also been a generational shift. Under the elegant expanse of Olympia, I looked at all these books and I thought, who is buying them? It’s the older, wealthier generations. The ones who have the luxury of time, money and space.
Right - The Gospel According To André, coming out in May
‘Generation Rent’ - younger people - aren’t buying these books anymore. Even if they could afford them, they’ve got nowhere to store them and they certainly don’t want the additional baggage of cart shelves of expensive books around every time they move. They often don’t even have enough room for the coffee table, let alone the door stopper books to go on it.
Why buy a weighty and expensive Taschen or Assouline when you can watch the documentary? You’re only going to look at the book once, anyway, most probably. You can stream a video anytime you like, plus we are all so used to consuming content in this way.
Huckbody disagrees, saying “"Over the past three years, I've been working very closely with the millennial generation as a university lecturer, and there is still a huge appetite for books; especially books that offer an insight into 'other worlds'. This might be anything from the black and white photography of Karlheinz Weinberger to the books that are published alongside fashion exhibitions such as the Alexander McQueen: Savage Beauty book. For a lot of 'Generation Rent', the book offers a different experience to a picture glanced momentarily on social media."
I agree that social media is a very quick, disposable and, sometimes, unsatisfactory medium for fashion history and I’m not going to go to the extreme and pronounce the book dead, (just yet!), I’m just saying the fashion documentary has proven massively popular and it’s a modern case of you've bought the designer T-shirt now watch the documentary on it.
Traditional forms of consuming information are changing and adapting and the fashion book was always ripe to be replaced by film. Film can illustrate movement, show catwalks, people and really gives consumers a feel for what they are seeing. Add the music of the time, interviews and you get a 360 view, albeit one the brand or designer wants you to see, but then, hey, books can be just as commissioned or narcissistic.
Not all films meet with the subject’s approval. We recently saw Westwood fall out with the makers of her documentary and encourage people not to see it. It had the opposite effect, gave it more exposure and we all know that it’s good for her anarchic image.
Some of these documentaries won’t do its subjects justice, others will surprise you with how interesting they actually are.
What is great is, by replacing the book, fashion has got a much larger audience. It would have been a select, passionate few buying these books originally, but now everybody has access to give the documentary the first 10 mins and see if it piques their interest enough to watch it until the end.
What do you think? Tell me on social media @thechicgeekcouk
Talking of fashion documentaries, TheChicGeek just reviewed Antonio Lopez: Sex, Fashion & Disco
Read more expert ChicGeek Comments - here
Trousers with a go-faster stripe aren’t even fashionable anymore. What???! What I mean is, they’ve become a standard trouser style and they still look good.
It’s a simple and sporty touch to a classic pair of trousers. For work or smarter attire, they just say you know what you’re doing and you can add fashion into a professional and conservative environment.
I noticed this pair in Burton's SS18 collection, they've also got some other really nice bits this season - I wasn't paid to say this! - but, this pair with a delicate red stripe with a zip pocket is what stuck in my memory and at a great price.
I would team them with a plain camp collar shirt and loafers or sandals.
Left & Below - Burton - Side Stripped Trouser - £30
It’s subjective, I know, but if you’ve bought something from a ‘luxury’ brand, recently, you will probably notice the quality isn’t quite what it once was. On the unstoppable growth trajectory of higher prices and sales, the quality hasn’t stayed consistent: no doubt increasing already inflated margins.
I’m not naive, I understand you pay a premium for a designer name or brand, but there was always a minimum quality to the product, leaving you, the customer, satisfied and at least without the feeling of being ripped off.
I’ll give you an example. I bought one of those new GG buckle Gucci belts online, 18 months ago. I hadn’t felt it, or seen it, I just ordered it online. It was a simple black belt after all. You think you know what will arrive.
What turned up felt like a free pleather school belt. I’m not being facetious, but there was no quality there. When you’re charging £250 and you can’t even offer a decent strip of leather to take the strain of holding your trousers up, there’s clearly something wrong.
Why didn’t I send it back? When it arrived at home, in insolation, seduced by the packaging, and Gucci was so-hot-right-now, you just shrug your shoulders and think, "okay, so it’s not the best, but it’s what I wanted and it’s cool ATM". (Damn you hype!)
It’s when I look back, and think about that belt, I feel, that if I’d handled and seen it in the shop, I probably wouldn’t have bought it in the first place. I would have felt the quality and moved on.
And, so to my theory - the growth of online is allowing mainstream luxury brands to get away with lower quality products. Consumers are more accepting in their own homes, they have nothing to compare it to at the time and the thought and hassle of sending something back is making people keep things they wouldn’t have necessarily bought in a physical store.
“Shopping is very much a human multi-sensory experience so it follows that we want to use as many of our senses. Emotion plays the dominant role in our buying decisions so the in-store experience will always be far superior to the online experience. As Boxpark MD Roger Wade put it ‘Shopping online is like watching fireworks on TV’ says Andrew Busby, Founder & CEO of Retail Reflections.
There’s no doubt online has contributed to the massive growth of these brands, whether on their own websites or third parties. Last year Gucci’s online sales posted triple-digit growth on their branded website and that’s without all the other online retailers. Gucci didn’t hit €6.2 billion turnover in 2017 on physical stores alone.
“This all depends on your definition of ‘Mainstream Luxury’. The word ‘Luxury’ is banded around all too often. True luxury is confined, generally, to bricks and mortar shopping, hence the resistance of major houses to enter the online market. When I consider ‘Luxury’ I think of brands such as LV, Chanel, Loewe etc,” says Darren Skey, Founder/Director of Nieuway Limited, and former Head of Menswear at Harvey Nichols.
“I wouldn’t class brands such as Off White, Amiri, Vetements as ‘Luxury’. What we are seeing is the luxury brands such as Loewe and LV seeing the growth potential of hype products and as such are designing products with this in mind. This leads to more quantity produced and a lower quality, compared to their main ranges, Fashion details are hard to produce on a large scale. Unfortunately, there is no correlation in price reductions, as you would expect with economies of scale,” says Skey.
It’s hard to prove this point, but it’s an interesting factor to think about. Net-a-Porter group recently introduced a new service for their “Extremely Important People”, where the delivery person waits to see whether you want the item or not, after they deliver it. It’s an instant reaction to the item(s) and it would be interesting to know whether this has increased or decreased returns. Obviously, they want the latter.
Quality is subjective and brands vary. But I think we’re seeing an overarching trend towards higher margins and lower quality from brands trying to still offer ‘luxury’ and compete with other brands’ stratospheric growth in turnovers.
There’s also a generational shift to think about. Since 2016, the global luxury market has grown by 5%, with 85% of this growth generated by Millennials according to a report by A LINE, a global branding & design studio. These younger consumers don't have as much experience and product to compare the quality to and brands are taking advantage of this.
“The expectation of the younger consumer is also changing and I think this is an interesting observation. For the younger consumers it is more important to have the latest hype piece regardless of the quality. And, as we know, the majority of the Millennials shop online,” says Skey.
Brands have made it easier to return products, but unless it’s the wrong size or nothing like pictured, I think people are more accepting in terms of quality.
“I don't think that shoppers are unwilling to send things back once purchased online. Fashion is not cheap and I don't believe we are in an economy where this can be an option. I also think retailers are making the process of sending product back easier,” says Skey.
‘I am predicting a backlash to the returns culture we are currently witnessing - both from retailers and environmentalists. The average returned purchase in the UK passes through seven pairs of hands before it is listed for resale. According to Iain Prince, supply chain director at KPMG, "It can cost double the amount for a product to be returned into the supply chain as it does to deliver it”.’ says Busby.
What brands have to remember: when you’re not cool or hot anymore, the thing that will keep consumers returning is quality. This lowering of quality is short-termism and greedy and will ultimately be a big factor is diminishing future sales and brand loyalty.
I’ve also written about brands which offer great value, like Fiorucci. here
We know what our clothes are made from, you only have to look at the label, but do we know which materials are the least and most damaging to the environment? Probably not.
The new fashion exhibition at the Victoria & Albert Museum, Fashioned From Nature, gets serious about the impact fashion is having on the world. It starts off fairly simply, looking at the raw and natural materials used in clothing and decoration from the 17th century onwards, and quickly charts the growing appetite for the rare and exotic to decorate the wealthy’s clothes.
Left - Historical dress inspired by nature and new discoveries
Right - Fashion protesting against itself
It’s interesting how our love of nature and the beauty we see in it has made people want to wear it and at the same time destroy it. It's very difficult to strike a balance.
This isn’t your standard fluffy fashion exhibition or one dominated by big names, it’s a thought provoking look about what things are, where they come from and their impact on the environment. But, it’s done in a way that isn’t preaching or has a strong agenda.
It’s sponsored by the European Confederation of Flax and Hemp, but I feel they could have done more to highlight the benefits of wearing flax. (I didn't see hemp mentioned at all). Most commonly made into linen, flax is one of the easiest and least damaging forms of materials to grow and is definitely something we should be wearing more of. It would have been nice to see more with regards to how you can use it, different finishes and something more than being the material of a few seasonal summer shirts and suits. There’s a wall you can touch at the very beginning made of flax. It feels like really dry horse hair.
Left - Lace Bark grown from a tree
Right - Toxic Evening Coat, Madame Grès, 1936
Things I learnt from this exhibition: I’d never heard of ‘Vegetable Ivory’ or ‘Lace-Bark’ before. I didn’t know the bones used in corsetry are called ‘Baleen’, after the type of whale.
Upstairs there is a lot going on. Some pieces are simply inspired by nature while others show new materials made from by-products or waste. ‘Vegea’ uses grape waste from the wine industry to form a leather-substitute and their ‘Grape’ gown is on show, as well as a Ferragamo piece made from ‘Orange Fiber’ derived from waste from the Italian citrus industry and an H&M Conscious dress made from recycled shoreline plastic.
I think educating people - cotton uses ridiculous amounts of pesticides and water - about what they are wearing is important and it would have been good to have seen different materials: wool, flax, cotton compared with one another. These are the main choices people have when shopping.
Fashion in its nature is wasteful and destructive. There’s no logic to moving on from perfectly wearable clothes and buying new ones other than to stay ‘fashionable’. But, that’s how it works and it’s also a huge business employing many people.
We need to be realistic, the odd dress made from recycled plastic bottles isn’t even scratching the surface. We need to look at clothing like other recyclables. Take the components and raw materials apart and reuse into new garments. This would require less fresh materials and would also close the loop on the fashion industry.
Left - Vegetable Ivory
Right - The flax wall
I think it’s naive to ask people to buy less. We need to improve environmental practises, push less destructive options and reuse and recycle more.
Fashion is dictated to by money. The minute it becomes more cost effective to do something, then it will happen. Let’s just hope that's sooner rather than later.
Fashioned from Nature - Victoria & Albert Museum - Fashion, Gallery - 21 April 2018 – 27 Jan 2019 #FashionedFromNature - £12
Below - The 'GuppyFriend' which stops micro particles being released from your washing machine into the environment
What they’ve done with, I’m guessing, limited visual material is remarkable. Even a featured Andy Warhol art film/doc is of such bad quality it looks like the first season of Rupaul’s Drag Race. So they’ve done well to find enough contemporary film footage or pictures to fill this and keep your attention. Obviously, there are new interviews with people who were there at the time, but it’s sad and disappointing that the two main characters are no longer with us.
Left - Antonio & Jerry
I’d heard of Antonio Lopez before and was aware of his style of drawing. I knew the era he was producing in, but that was about all. I didn’t really know who he worked with and for whom.
James Crump’s documentary centres on Paris and New York between 1969 and 1973, viewed through the eyes of Antonio Lopez (1943-1987). A native of Puerto Rico and raised in The Bronx, the story centres on him and his personal and creative partner, Juan Ramos (1942-1995).
Being an illustrator Lopez would never have been in the public eye personally, unlike many of the designers he was copying. His illustrations were well known, but it felt like he was always at the mercy of the commission, whether that was for a magazine or fashion house.
Right - Lopez's partner, Juan Ramos
Unlike Warhol, who also started as an illustrator, Lopez didn’t push himself centre stage. Warhol knew there was money to be made in people’s narcissism and vanity. Lopez seems to stick to the safety of what he knows. Maybe there wasn't enough time, well, between all the shagging, at least!
I like how the documentary moves between New York and Paris, but I wanted more from the main disco time of the late 70s and early 80s. The disco is Paris’ Club Sept, but you don't really get a feel for the place.
It gets wrapped up quickly at the end without the same level of detail. What was he working on? Did he fall out of fashion?
There is a brief moment when you feel like you’re watching a documentary about YSL and Karl Lagerfeld. (Love the beef between these two). These giant fashion planets pulled many different stars into their orbit and Lopez and his entourage of models and lovers were just some of them.
It was fun to see and hear from the group of female models Lopez championed - there's one who reminds me of Angie Bowie - and would have looked mega diverse even by today’s standards. The documentary is worth watching just for Jerry Hall’s arrival. Man, was that one beautiful woman. There are models and, then, there are supermodels. She’s like Botticelli’s Venus combine with a classical Greek siren with a dash of Texan Barbie. She’s captivating, especially in this where she's just starting out on her modelling career. This is where the film starts to end. It’s a shame, along with Grace Jones and Karl Lagerfeld, that she isn't interviewed for the film.
Lagerfeld seemed to distance himself at the end of Lopez’s career which is probably why he’s lasted so long in the fashion business. I imagine you have to be pretty cold and heartless in order to maintain your position. In the film he uses Lopez to illustrate his work at Chloe, and, being good at what he does, he knew they were the zeitgeist of the time and then when to drop them, accordingly.
Upsetting the photographer, Bill Cunningham, who is a prominent interviewee in the film, Lagerfeld wasn’t there when Lopez was diagnosed with AIDS.
The film is definitely an extensive insight into Lopez's fashion circles of the late 60s, 70s and early 80s: who knew who, who fucked who and who made it through. There are, annoyingly, not enough recorded visuals of his process and you want to hear more from the man himself. You don’t get a feeling of how much he produced and how his magazine illustrations complemented the fashion of the time. The artworks look like a mix between 70s Art Nouveau and porn illustrations, but you can see his precocious talent.
The film, again, illustrates how much talent we lost during the AIDS crisis and also fulfils our insatiable thirst for retro glamour. We live in age where we are obsessed with looking backwards at talented and beautiful people, quenching our need for what we feel today's modern landscape is sadly lacking.
Left - One of Lopez's illustrations
See #ChicGeekComment Is ‘Peak Fashion Documentary’ Killing The Fashion Tome?