Tag Archives: pop culture

Pop culture gear is where fashion is – if you can afford it | Instant News


Become pop

After a flurry of closings that coincide with the end of the fiscal year for many fashion companies last month, if you look in the right place now there is a positive atmosphere.

Jun Takahashi’s newest runway for Undercover features some less subtle references to the anime series ‘Neon Genesis Evangelion.’ | © ️ KHARA

For all the difficulties some sectors have experienced over the past year, others have charted an upward trajectory. In particular, pop culture themed merchandise has become a real success story.

The sweet spot seems to be a pop culture commodity that has become a nostalgic spot for young people with disposable income.

Case in point: the de facto symbol for Japan’s so-called lost generation, the anime franchise “Neon Genesis Evangelion,” whose long-awaited final work in the film series “Rebuild of Evangelion” is currently doing well in theaters national. To mark the occasion, there were lots of merchandise and collaborations, including Jun Takahashi, who presented his work. Undercover collection in Tokyo to coincide with the Rakuten Fashion Week Tokyo in March.

From the very first appearance, an ensemble inspired by plugsuits, mechas, and even the antagonist Angel from the iconic series lurked down the runway. The design exhibits a humble level of technical patterning prowess, as well as hands-on imagination.

Even better, if you cut out the headsets manufactured for runways and get rid of the black light trick, the collection is surprisingly wearable, even with a more literal manifestation of anime aesthetics than any designer would have tried in the last decade. From 2010 to 2020, designers generally aim for the subtlest references to source material possible, but recent market success has made them even bolder.

But not all success is the same. Unfortunately, when anime or video games start collaborating with brands above the upper echelons of the fashion hierarchy, there’s usually a “How many ?!” or “What a scam!” and so on from people who like original media, but resent the feeling that a part of the community is now off limits because of the entry fee.

Blood and blooms: Anna Sui combined the brand's classic rose and butterfly motifs with a spear for a mecha-centric accessory line.  |  BANDAI
Anna Sui combines the brand’s classic rose and butterfly motifs with a spear for a mecha-centric accessory line. | BANDAI

The first culturally significant example of this reaction was most likely in 1999 (a pre-social-media-driven outrage) when Square Co., now Square Enix, produced the ensemble for Squall Leonhart, the hero of the video game Final Fantasy VIII, in original skin.

The combination of craft and quality – with a hefty price tag to match – is a breakaway moment for “geek chic” as a whole, but not everyone is happy to know that outside forces can change their fandom’s field of play. This phenomenon continues, but as more and more value is properly placed on pop culture mementos, hopefully we’ll start to see fashion as an enrichment of source material, and not an unwanted guest.

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Undercover isn’t the only brand involved with the new “Evangelion” film. Bandai’s internal label, the Bandai Fashion Collection – who thought the words would ever be orchestrated – have teamed up with Anna Sui for a dark collection of franchise-inspired accessories. Throughout, Anna Sui’s signature butterfly and rose collided with the bloody spear and the battered face of the series’ titular mecha. Collection pieces will drop throughout the year, with some for pre-order at the Bandai online store now.

Order Immediately: If you want to get your hands on Anna Sui's 'Demon Slayer: Kimetsu no Yaiba' capsule collection, pre-ordering is essential.  |  GOTOUGE KYOHARU / SHUEISHA / ANIPLEX / UFOTABLE
If you want to get your hands on this Anna Sui ‘Demon Slayer: Kimetsu no Yaiba’ capsule collection, advance ordering is essential. | GOTOUGE KYOHARU / SHUEISHA / ANIPLEX / UFOTABLE

Anna Sui also matches the current anime, “Demon Slayer: Kimetsu no Yaiba”, because the mini collection that is expected to become so popular pre-orders is your safest bet to ensure ownership. Again, the Bandai online shop is your friend.

Even the two capsule collections barely scratch the surface of the pop culture paraphernalia for grabs. “Harry Potter” pairs up with the super cute Q-pot accessory brand for a collectable ornament-themed collection (as opposed to the clothes you can wear and wear). The series closes with a chocolate-themed Hogwarts randoseru backpack at a staggering 110,000 yen (tax included). Again, if this is something your primary school (or you) want, wise advance ordering is required either online or at Omotesando flagship Q-pot shop.

The separation of shopping from physical stores, and even the need to wear it, is an overall downside for fashion, but an appropriate strategy for brands aiming to outlast the current stay-at-home status quo. These well-crafted pop culture artifacts could play the part they sit in storefronts for now, but hopefully they’ll get their day to wear, and celebrate, out and about someday.

Bandai Fashion Collection: bandai-fashion.jp (Only in Japanese); Q-pot: bit.ly/harrypotter-qpot (Only in Japanese)

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How I travel: Debi Mazar sometimes has to buy new luggage to take her memories home | Instant News



On the TV show Younger, Debi Mazar plays a hardcore and effortless Brooklynite, and of course, she’s off-screen too, with the instantly recognizable accent to prove it. For years, she and her family have divided their time between the borough of New York and their farm in Tuscany. And the pandemic was no different: “I actually traveled,” says the actor, who flew to New York in the winter to film Younger. Now she is back home in Italy. “I have dual citizenship,” says Mazar, who shares his culinary adventures across the country in a cookbook and via the Extra Virgin show. “Like everyone else, we are confined. We are in a red zone and have a national lockdown for Easter. To me that means, okay, let me stay home, exercise, garden, try to organize my house. In anticipation of the final season of Younger, which hits April 15 on Paramount +, Mazar has zoomed in from Tuscany to share his favorite hidden Italian villages, a hotel with special memories and the other European country that has his heart. . in this story are independently selected by our editors. However, when you buy something through our retail links, we can earn an affiliate commission. How She Stayed Safe During The Pandemic: I Did Six Quarantines since [last] March, two weeks at a time. I did 69 PCR tests to work on Younger, with additional rapid tests. I have never had a sinus! We’ve really been through it to be able to shoot this season, so I give my cast and my team a lot of credit. You can make the most of your time wherever you are and use your time wisely. Some people just stay in their pajamas and get depressed – they can’t go anywhere and feel bad for themselves. I think it’s a question of self-reflection: who am I? Can I deal with myself? What can I do to inspire myself now that I have this moment of calm all around me? It’s harder for the kids, frankly. I’ve traveled, I’ve lived, I’ve partied, I’ve done a million things in my life. It’s not as hard as it is for my kids who are like, “What do you mean I can’t have a birthday party? What do you mean I can’t? not visit my friends? ” First, I make lists, for example, how long will I be doing and what do I really need? So, for example, I knew I was going to New York for five months and that it would be winter, but I was shooting on a set where I wear an amazing wardrobe, which I could probably borrow if I had to go out. I wasn’t going to any parties or premieres so I left dresses and heels on. I tend to pack my bags with the costume jewelry and charms I wear that protect me, some are very religious and superstitious. I bring a very large makeup bag. I will bring a piece of hair so that I don’t always have to comb my hair, especially in wet weather. And an extra pair of inexpensive hoops. If I lose them, whatever? And why she always brings an extra suitcase: I tend to pack less because I feel like I want to come home with stuff. I came home [to Italy] with nine bags. I bought them from Amazon, they are not luxury luggage. I had accumulated stuff, because it was winter, it had been five months. I wanted to bring home coffee – I love Bustelo. As organized and planned as I am, I don’t travel light. My greatest gift is that I have a strong and generous husband who takes the bags out of the cart. I really try to be light, but I never do. Often times I put duct tape around my luggage because I’m afraid the cheap luggage I buy will explode. .



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New Zealand singer Lorde makes a rare appearance on his friend’s Instagram post | Instant News


Where did Lorde go?

That’s the question on the lips of anyone who buys and likes his 2013 debut album Pure Heroine and his 2017 follow-up, Melodrama.

For a while there, Lorde was everywhere – on the radio, in magazines, at shows near you.

But then he seemed to disappear.

It’s been four years since Melodrama and singer New Zealand, 24, hasn’t indicated a new album is in the works.

Instead, fans have to settle for an unusual Instagram account dedicated to the onion rings he eats around the world.

This is literally called Onion Rings Around The World.

But he hasn’t even posted to the account lately – his last onion ring post was on December 20 last year.

Rare image

However, a new and rare image of Lorde has surfaced on social media.

The photo was taken by friend and photographer Albert Cho at a restaurant in Auckland, where he celebrated his birthday.

Lorde is seen channeling an Audrey Hepburn vibe in the photo, looking strikingly sleek in an elegant white blouse with her hair pulled back.

Cho’s comments were flooded with requests to ask Lorde to hurry up and make a new album.

“Tell him to give us new music!” wrote one Lorde fan.

“Tell Lorde to please don’t disappear from the sun again. We need his album to show sad hours of boys, “said another.

“Guys, stop terrorizing him in the comments,” admonished one man.

Lorde performing in London in 2018. Credit: Burak cingi/Redferns

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Claudia Skoda knitwear revolutionized fashion in 70s Berlin | Instant News


Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

At the beginning 1970’s, Germany mode designer Claudia Skoda join the experiment Berlin collective. Based in the abandoned Kreuzberg factory, their studio space, ‘fabrikneu’, is very similar to Andy Warhol, with the turnstiles of cool beginner freaks: the models who pose for Helmut Newton, an artist who went on to gain international acclaim and percussion for the bands Tangerine Dream and Iggy Pop, to name a few. However, Claudia’s specialty is something one might find less anarchist: knitwear.

Completely self-taught, Claudia has recently started playing with flatbed knitting machines 1960’s, when she couldn’t find the kind of clothes she wanted to wear anywhere else. Although knitting was not always the medium associated with counter-culture, Claudia designed smoothly and freely, creating clothes that were synonymous with the times and would earn her a reputation as the “queen of textures” (PAPER, 1985). Dress for Sensation, a new exhibition at Kunstbibliothek in Berlin, check out these striking fashion releases throughout the 70s and 80s – lots of graphic bodycon pieces with slouches that are immodest – and West Berlin’s lush creative scene.

“Knitting is often associated in a clichéd way with housewives and eco hippies,” co-curator of the event Marie Arleth Skov show in the exhibition catalog, “[but it can] making statements about oddities, or pushing gender stereotypes to the point of absurdity. ” Designating artists such as Rosemarie Trockel, Louise Bourgeois, Tracey Emin, and Mike Kelley, Marie asserts that, on the right hand, knitting can invalidate “certain notions of household / female existence. Elsewhere in her design, Claudia makes front trousers and wide-collared jackets for men, and women’s tights in latex and Lurex. She staged elaborate and disruptive fashion shows to showcase this progressive outfit; the kind that models will see. hatch from a giant egg, for example.

With the exhibition opening this week, we called Claudia to discuss the pros and cons of Germany’s previous isolation, the allure New York City and the art of translating moods inward music.

The portrait series of Claudia Skoda, Tabea Blumenschein, and Jenny Capitain ca. 1977/78

** What state is your archive located in? Did you feel the story you wanted to tell for the exhibition, or did you find it along the way?
** Two years ago, the curator and I discussed it all. I want to do a [full] retrospective but once we started we realized I had too much material – so we stick with the 70s and 80s. At first, I worked with different materials and styles; it wasn’t until the mid 80’s that I developed a knit that I still work on to this day.

** How is your brand formed by fabrikneu? Sounds very collaborative.
** I try to include all creative and energizing contacts [from the studio] in my presentations, fashion shows and photos. We were like the center of a scene in Berlin; most of the artists living in this abandoned factory are with us. There’s a lot of stuff going in and out, and New York people will stop by for a music session. I make short films, and I catalog my creations. In Berlin, there aren’t many brands: just a few designers, mostly haute couture. It’s an open world: we do shows in our factories, and clients come from all over Europe. In the beginning, we made a lot of things; then we chose something. It’s not very economical! We went to fashion fairs – in Dusseldorf, Milan, Paris – and then took orders in advance.

Silke Grossmann, drawing for Claudia Skoda, collaboration with Cynthia Beatt, antique silver gelatin mold, 1983, © Silke Grossmann

Silke Grossmann, photo for Claudia Skoda, in collaboration with Cynthia Beatt, 1983, © Silke Grossmann

** Some pop culture icons put on your clothes: David Bowie wore your trousers in the 1980 music video “Ashes to ashes, “and clients at your New York boutique include Cher and Donna Summer. How do celebrities sign you up as a designer?
** We live on some sort of island – Berlin is closed, and we’re having a hard time connecting. That’s why I decided to open my shop in New York [on Thompson Street in SoHo]. David Bowie is our friend, and he said: “You have to go to New York or London or Paris.” That was in 1981; in 1982, we opened a shop. The Vivienne Westwood shop is across my street, so I can always see what he is doing. I love the way he displays his own style and the way he works in the industry. I travel between Berlin and New York all the time. In New York, I met people and realized what my position was – I couldn’t find out in Berlin!

** What is your position?
**Good, [seeing] how other designers work, that’s a completely different way of doing business in America. It also completely changed my style. It became a more international influence: American showbiz, but also Japanese designers [Comme des Garçons opened a store in the neighbourhood]. New York is about high sophistication – it’s also about streetwear. And it makes me think not only about evening gowns or ball gowns, but clothes that can be worn for the day that are also awesome. It was a new ‘measure’: that an item of clothing had to be special, international, wearable. I transferred that influence to Berlin.

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

Gertrude Goroncy, Untitled (Deep Dive for the Whales, Deutsche Guggenheim), C-Print, 1997, © Gertrude Goroncy

** How did you get into fashion design? You worked in publishing at first, but your father was a tailor, and you grew up in a relationship with textiles.
** My dad was a “real” tailor – like the Savile Row style. As a child, I would sit in his workshop and think how difficult it was to work in a coat or overcoat jacket. I can’t imagine doing that. In the mid 60’s, young people came to Berlin, but there was nothing they could buy. I go to London, or Paris, or Amsterdam for clothes. I go to thrift store, and my inspiration is fashion from the 20s. I thought, ‘it’s hard to find good clothes in Berlin’ so I started making them, using a knitting machine. I love knitting as a medium because I can play around with color, shape, and transparency. That’s how I found my way forward. And vintage inspiration [confirmed] my aesthetic – whatever I make looks like it comes from a department store.

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

Rich Richter, Untitled (New Game Fashion Show, new), antique silver gelatin mold, 1976, © Rich Richter

** How has your relationship with music developed? You do your own electronic experiments, and make friends with the people who make up the world of music. How many people can say that the guys from Kraftwerk created the visuals for their first record!
** Music is always at the factory. There is a girl who lives there [Esther Friedman] who is dating Iggy Pop. When I play music, I don’t dare consult a big star like Iggy or David – it’s just for fun. All around electronic music started in Germany. America first pop culture, but in Berlin, musicians found their own style. I do a lot of things with my friends; I started my own label. I recorded an EP with Manuel Göttsching, “Ich bin a Domina” (I Am a Dominatrix).

I worked on it for three years and then felt like I had to decide between fashion and music. I decided that I was a music consumer and not a music maker. My fashion shows always feature live music. I have friends “translate” the vibrations I imagine, and they will interpret it in their own way.

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

Rich Richter, untitled (Jenny Capitain in Claudia Skoda, Pablo Picasso fashion show, new), antique silver gelatin print, 1977, © Rich Richter

** Which other designers have you attracted to?
**Eckhaus Latta – I see a lot of similarities to how I was when I started. And they also do a lot of crocheting. I used to like Pierre Cardin; he put modernism into vogue at the time. And Rudi Gernreich. Today, I like it JW Anderson for what he did for Loewe. Big brands don’t really appeal to me. Big houses work with young designers and envelop them. I mostly see what other designers are for not to do – because it’s already out there. My biggest challenge has always been doing something that has never been done that way before.

** Having been in the business for decades, how do you feel about a certain aesthetic revival? Is it part of a natural cycle or is it an easy reference?
** I am a modernist. I wanted a modern style, one that doesn’t look back in a nostalgic way. As a consumer, I prefer real vintage as opposed to vintage remakes done by big brands. I am very inspired by the architecture and artists working now and the materials they use. There are changes in terms of knowledge of how to make fashion, such as the approach Iris Van Herpen, which I really like. But I am too old to think of new discoveries. Me, I still use my hands.

Claudia Skoda on the roof of the fabrikneu in knitwear from the collection

Claudia Skoda on the fabrikneu roof in knitwear from the “Shake your Hips” collection, 1976 © Claudia Skoda

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How Padma Lakshmi Made Her Way Through the Pandemic: Women Traveling Podcast | Instant News



Padma Lakshmi: Hi, thanks for inviting me. LA: I would say my very first interview with Zoom was with you in March of last year, about a week after the lockdown. And I think it’s safe to say that none of us probably figured out what the rest of 2020 was going to look like. How has the past year been for you? PL: It was surreal, like most people. I actually tried to write about it because I was invited to edit the Best American Travel Writing series last year this year and I find myself really stuck for words, just giving a name and form. to kind of emptiness and dread it. we all felt. And I think the hardest part was not knowing. In many ways, when you spoke with me last year, around this time, I was probably a much happier person because I like most people who were thinking, oh, it’ll probably be two. , three weeks maximum. It will be a pleasant and forced vacation for all of us. And I can spend all that time with my daughter, which I did, of course. Which was great, but also very enlightening in the sense that I always thought I might like to teach because I love kids and things like that, but after going to school- house with Krishna my 11 year old daughter so At 10 I realized that teachers are kind of these superheroes which I always knew because they have affected my life and learning so much , but now I see how hard it is to do the job that they don’t get and so there has been a lot of stuff like that, which has been very humiliating for all of us. Luckily I didn’t get sick and neither did anyone in my immediate family, but I knew people who have passed away and it was a bit difficult because I know it intellectually happened, I know these people are gone , but I didn’t. ” Like many of us, we were able to cry or comfort those closest to them. All these absurd things that we as human animals, human beings, use to mark our own culture and society and things like that. It was a bit like waving around in the dark. You are Turkish, aren’t you? LA: I am. Yes.PL: I remember our interview. Yes. Because I love Turkish food and have only been to Turkey once, but yes. LA: I remember very clearly that you said that you and your daughter made a chocolate cake. And I don’t know why it’s stuck in my head, but I think it was because it was such a heartwarming image at a time when we really needed comfort.PL: Yeah. I guess this is my version of Marie-Antoinette. When in a crisis, bake cake. ™: Over the past 12 months, do you think your relationship with home food or cooking in particular – or cake – has changed while still being at home? PL: Yes, to all of that. Yes, to all of this. One thing I have always been firmly convinced of, but the pandemic has made me put into practice on a daily basis, is not to waste anything. It was all those months where you didn’t know what you were going to have access to, you didn’t know what you were going to find. And so, we stocked everything. If it was a meat product, we kept it in a separate bag and froze it. If it was green onion tops, all of those things you’d probably throw away, but we put them in another bag and keep them in the crisper. And when there was only a tablespoon or two of quinoa left, I put it on a baking sheet and sprinkled it with olive oil and made a kind of gravel to give it a crunch. to my salad, when I did not have croutons or I do not have any. Don’t know what I was thinking. But I started to make nuts. I don’t know why I thought it would be necessary. .



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