Ladies Plaza

Japanese brand Ubiq always comes up with head-turning, sometimes offbeat designs when it comes to their footwear. The latest 2007 Fall/Winter collection is no different. My favorites from the group have to be the Braska and Bernadette models.

A mid-cut boot, the Braska (right) is not as clunky as most urban hiking alternatives. The most innovative feature is the gator-like fleece sock appended to the top of the boot. It features a draw string pull cord which allows the wearer to control the fit around the ankle. If you’re stepping into some thick stuff, just fasten it tightly around the ankle to keep snow out and warmth in. The patent leather tongue adds style and a playful touch that fits in better on the streets than the trail.

The Bernadette boot (left) follows suit with the latest football (soccer) design, moving the enclosure—in this case a zipper—on a bias. Low, with a fairly round shape, it features the same Vibram sole and suede upper as the Braska. The zipper enclosure, leather laces and a support strap near the ankle ensure a snug and protecting fit for your feet.

The Braska, ¥19,950, and the Bernadette, ¥22,050 are available at Flauge, each in three different colors.

by Loryn Hatch

Constructing shoes is no easy feat. As designer Kristen Lee explains, “They’re the only piece of fashion that you actually walk in—they have to
perform.” Lee launched her women’s modern-by-way-of-slightly vintage line as an answer to all the “shoes out there being designed by men for this
idea of a sexy woman,” she says. “I wanted to make feminine shoes with an edge by a woman for a woman.” This fall, that translates to brightly hued
and sometimes subdued suede, leather, reptile, and fabric platforms, heels, and flats that balance the quirky and the sophisticated.

Lee has also recently introduced a men’s line called The Reform Party. Keeping things sans fuss, Lee designed three variations on the classic loafer,
giving each style a distinct persona and matching attache. “It’s very small and experimental with a classic, uniform-style,” she says, adding that “men’s
fashion has really been revitalized in the past couple of years by brands like Trovata, Thom Browne, and Steven Alan, and I think the men’s accessories
market needs to catch up.” Read more…

I’ve never been much of a dress up for Halloween kind of girl. The last time I did it, I bought a witch hat and put it with the outfit I was wearing- which was a black dress and a denim jacket. Not very inspiring. But since this is my last year of college, I feel like this is my last chance to go all out for Halloween and dress up crazy and everything. With that, I’ve started to think of what I want to dress up as for Halloween. I don’t want to be boring Halloween cliche after all and go as a playboy bunny or anything (not that I know where I am going, but thats beside the point). And so, I’ve decided to draw inspiration from the most creative and trendy of them all- the fashion designers. After all, there is not reason not to be fashionable on Halloween! The first designer I thought of was naturally John Galliano who loves to dress up so much himself. And luckily for us, his FW07 collection was all about costumes (isn’t it always?). Here are two I pulled out: the viking look and what I would like to call, dressing up like a rose look. The viking look here is all about the hair and the rose look is pretty much just one big layered dress- oh and the make-up. Don’t forget the scary red make-up. For the most part, there are lots of room for you to also look pretty in. And remember to have fun with the color of your stockings! Halloween is THE time you are allowed to be mismatched! For something more feminine and sophisticated, draw from the Dior Haute Couture show, which to me looks Venetian inspired (first two anyway). Love the cute clowns outfit. And I LOVE the askewed masks. I am currently kicking myself for leaving my Venetian mask at home sitting on my Koala bear….. Oh and there is also this blue look, which for me is in between statue of liberty (the hat, one shoulder strap and pose) and a water nymph (blue flowy skirt). Next on my list for creative talents is Alexander MacQueen. From his FW07 collection, we have the supposedly witch look (left) though to me its more like a vampire look, and the Egyptian Cleopatra look (right). Hmm… I may consider the vampire look…. that would give me a good excuse for very fun make up Inspirations from the latest SS08 runway. We have MacQueen again with this bird look. If you must be an animal, at least do so fashionably right? And then there is Gorgio Armani. This is actually my favourite look so far. With those pants, its an almost gypsy/genie look. And probably this is the most economical and fashionable to achieve too! Anything gypsy pants you buy may be considered an investment for next season! Back onto the Haute Coutures, Jean Paul Gaultier has the royalty look. Now all you got to decide is whether to be an western royalty or sultan. A chance to buy something rich, gold and shiny. More from the FW07 runway, we have Balenciaga with the folk people look and Dior with the farming/peasant in expensive clothes look. Any attempt at folk can be considered an investment this season (nice scarf?). And as for the farming/peasant in expensive clothes look- its all in the hat. These two looks can really be considered just looking fashionable. And lastly, try the space age neon look. This is your chance to wear bright colors all over without people wondering what you are thinking!

Image Source: Style.com

With Fall in full swing, it’s time to think about your skin regimen, to keep that summer glow. Style.com offers an October Fest of fall products you need right now, plus effortless beauty tips from Zac Posen and 50+ other ways to get beautiful this season.

If you have been living under a rock for the past couple of months, then let me be the first to tell you that Lupe Fiasco’s latest album, “The Cool”, is scheduled to hit shelves on December 18th.  To commemorate the event, Supertouch bloggers Lupe Fiasco, Dr. Romanelli, and Maharishi are set to do some sort of collabo.  The thing is,  nobody knows what they have planned yet.  Stay tuned I guess…

Info.Image:  Supertouch

Style meets tradition. Crooks & Castles has teamed with Canadian Sweater Company – creating quality sweaters since 1977 – to create a new sweater for their holiday collection. The new 3 Castles Zip Sweater is hand knit from 5 gauge yarn and is set to drop sometime this holiday season.

Info.Image: Hypebeast

Reuters - Daisy Fuentes and Jai
Rodriguez will host a weekly news series for Style Network.

New in Stores: A round of beauty supplies to exfoliate, repair, highlight, and curl. Backstage Confidential: Get tips for effortless beauty from Zac Posen’s Spring show. The Many Faces of Fall Beauty: 50+ ways to get the new looks.

At 28, RJ Shaughnessy, a professional photographer, lives in Los Feliz with one roommate. In late 2002, Shaughnessy, then a photography student at Arts Center College of Design in Pasadena, lived in a house called Death Camp. “Now, when I talk about it, Death Camp is an art collective – they did T-shirts, but that was a means to an end,” says Shaughnessy, who lived with artists, writers and musicians – Shaughnessy was the only photographer –, adding, “it was a bunch of artistic kids living there. But we never called ourselves a collective.”

Life at Death Camp was filled with the misadventures of coming-of-age experiences that were captured by Shaughnessy’s point and shoot Contax camera. The photographs in Death Camp are raw, but Shaughnessy, who shot realistic meth PSAs, is a raw photographer that makes the ordinary, extraordinary. “The realities of situations are boring, but there has to be something broken within the frame,” says Shaughnessy.

Recently, Shaughnessy shot his first fashion feature at Fader Magazine (“I went to Oakland with the Fader style editor, Mobolaji, and we shot beautiful photos of kids from around town,” he says, adding that Mobolaji’s fearless approach to random people, helped Shaughnessy – a shy man who, sometimes, brings friends who are “more socially skilled” to break the ice with his subjects – produce his favorite work to date.

“After, I gave him a hug and said, ‘I’m really sorry, but I just pissed on your bed.’ And he’s like, what?”

RJ: So how long have you been doing your online stuff?

Format: Ugh, that started in October 2006 between Dan, from Toronto, a few other people and I.
RJ: Yeah, it looks like you guys are pretty busy. You have a lot of great content and people.

Format: We have a lot of great people, we’ve been really fortunate. Last time, we talked to Mike Mills.
RJ: I saw that interview. It was lengthily, I didn’t get a chance to read it. He is really good at ping-pong. So that’s awesome.

Format: He’s very smart.
RJ: Very smart. We used to have a ping-pong table set-up at the house that I lived at. I played him one game, one day, and crushed him. He came back a day later and beat me so bad that I was traumatized, and didn’t play ping-pong for months after. It’s like he went home, studied the Zen of ping-pong and fucking worked me.

Format: Where did you study photography?
RJ: I went to Arts Center College of Design in Pasadena, California. I graduated in 2004 with a bachelor’s in fine arts.

Format: What did you use to shoot your recent book, Death Camp?
RJ: I used a small point and shoot Contax camera. There are two digital photos in it. Everything else is film.

Format: Is the house named Death Camp, or the people?
RJ: Basically, all my roommates had a clothing company called Death Camp and they screen printed T-shirts. They stopped doing it, but the name stuck as the name of the house. Now, when I talk about it, Death Camp is an art collective – they did T-shirts, but that was a means to an end. There were writers, painters, musicians and I was the only photographer. It was a bunch of artistic kids living there. But we never called ourselves a collective.

Format: What reactions did your photography spark in people that lived at Death Camp?
RJ: There was one roommate who is not in the book, because I took one photo of him and he, basically, wanted to beat the shit out of me, because I took this photo. He felt really violated. He was the only one vocal about it. I stopped taking photos of him. There was another roommate – in a lesser situation – that wondered why I broke the intimacy of the moment. There was never a conflict. It is just what I did. We were all living on top of each other, anyway.

Format: The advent of Flickr and other blogs has made anyone with a camera a photographer, many times, self-proclaimed professional photographers. What has the accessibility of the Internet done to your industry?
RJ: I kind of love it and I kind of hate it. I love that people are taking photos and communicating, quickly and easily. There is no filtering system, though, so there is a lot good stuff and a lot of bad stuff. If you don’t find the good stuff, it all seems bad. I try not to use Flickr, but I have a couple friends with Flickr accounts. It has not changed my industry. I don’t think people are getting hired from Flickr accounts. It’s more of a communication device.

Format: How did you start shooting for Fader?
RJ: I have a friend, Todd Cole, who introduced me to Phil at Fader. I showed Phil my stuff and he started giving me one-pagers, here and there. Last month, I shot my first fashion story. I went to Oakland with the Fader style editor, Mobolaji, and we shot beautiful photos of kids from around town. We rolled up on dudes and said, ‘Hey, do you mind being in this magazine?’ Most of them never heard of Fader, so we showed them a copy. Mobolaji was fearless and just walk up to anybody saying, ‘This is what we want to do, let’s do it!’ Those are by far my favorite photos that I’ve taken in a long time.

Format: How do you make people feel at ease when you photograph them?
RJ: I try to be as invisible as possible. I don’t really talk to my subjects too much. I have a new shtick: I try to bring someone with me who is more socially skilled than I am to chat them up. I don’t like breaking the wall of people looking into the camera. On Fader assignments I try to bring other people with me to take their attention away from me. I am attracted to images that are observation, opposed to an awkward photograph with the subject looking in the camera.

Format: In a previous interview, you mention that your friend said they looked in your book and asked why you didn’t take photos of anything cool. Your photographs make normality seem significant. How do you find common situations attractive, making them interesting for others?
RJ: Part of me wants to say editing. The realities of situations are boring, but there has to be something broken within the frame. There are always images that stand out, to me, as far as having realness to them. Those are the images I am attracted by. I don’t take too many photos of one thing. Maybe, three frames.

Format: In Death Camp, Jimmy looks like a real character. Please tell me about Jimmy.
RJ: Jimmy is probably my best friend. He is in a rap group called Brother Reade. He is really brilliant. I want everyone to meet Jimmy at some point in their lives. He’s really quick witted, charming and funny.

Format: Recently, you had a Miranda July cover shot for Pig Magazine. How was this experience?
RJ: She’s brilliant, talented, hard working and beautiful. Actually, they cropped that photo. They used, probably, 50 per cent of the image. I just saw it a couple days ago and thought, wow, they really went for it! The inside photos were really good. It was exactly the kind of photo shoot that is ideal: no hair, no makeup, no styling – she doesn’t need styling, she has the best clothes in the world. It was me, her and her friend at her friend’s apartment. Miranda is easy to shoot. She does her thing and I let her do it. She doesn’t need direction. Have you saw her movies?

Format: No, but I read her short fiction in The New Yorker before I knew who she was. I’m really late on things.
RJ: You do live in Canada! You have to see her feature, it’s great. She’s an actress, too! She’s just a powerhouse. It’s very inspiring.

Format: Your photographs are raw. The meth PSA advertisements you shot were raw, son. Please explain how this opportunity materialized.
RJ: Crazy, right?! This ad agency in San Francisco, contacted me about doing these shots for them. I was so into how gutsy and raw it was. If you look at their website, montanameth.org, their campaigns are unbelievable. They had Darren Aronofsky do a couple video spots that are all one-shots, they’re so amazing. Every campaign they do is raw and real. I can’t get over how they get away with being that intense. I shot those in December. Everyone was intelligent and smart, so my job was easy to do. Have you seen those ads?

Format: I’m in Canada, give it five years.
RJ: They only brand in Montana, because there is a huge meth epidemic in Montana. A million that lives there funds all these advertisements. I find that a noble thing to do. I wish more people would do that.

Format: How was your experience with Lil Wayne – to be honest, you don’t look like a Lil Wayne photographer.
RJ: Well, Lil Wayne is my favorite – I guess I should say musician, I don’t want to call him a rapper. He’s brilliant, I love his mixtapes. That situation was on my birthday, last year. He was doing a video shoot for Currency, one of his protégés on Cash Money Records. Lil Wayne was doing a cameo for the video shoot and I showed up. It was one of the most awkward photo shoots that I did, because I was never introduced to him. He never spoke a word to me. I never got a hand shake or anything. They were doing something I was there kind of sneaking it. I didn’t have time to do my usual shtick. I only shot three rolls of film.

Format: In your post-Death Camp life, do you feel you’ve matured more?
RJ: Absolutely. The time that I lived there, I was, for the majority of time, in school. I was there at nights and maybe on a Sunday. That time was great, because I was around my best friends all the time. There was always something going on. Now, it’s rare that I see my friends. I’m trying to be a professional photographer: invoicing, estimates, photo labs, scanning, retouching and shooting. I’m more work-centric, before I was more friend-centric. I live in house in Los Feliz with a roommate and sit at a computer all day working. It’s interesting, because I’m at the point where I’ve made a book and now I have to figure out what to do next.

Format: You’re self-published. What type of challenges did you face in publishing a book?
RJ: I had no idea it was going to be that hard. I’m amazed it’s done. I would go to Todd Cole and ask him what he thought. The editing process was painstaking: do I include this, do I exclude this, what is this really about? I learned that, once I moved out, I had a body of work that needed punctuation on it. Trying to get images printed and retouched took so much time. Wrangling with the printer was hard, too. Luckily, I found a printer in Los Angeles and had a dialogue with them. Laying out the book took forever, too. It was so gnarly.

Format: In Death Camp, there is a random woman flashing gigantic breasts. How did that happen?
RJ: That was taken at The Roost, this local dive bar near our house. They have popcorn, darts and drinks. This one night, in particular, this woman was having a great time and she liked the idea of young kids paying attention to her and she whipped those puppies out, posing with my friend. I sent a copy of my book to my dad and he’s like, ‘She’s been showing those things for years!’

Format: How did you choose the cover photo for Death Camp?
RJ: That was a last minute change. During the creation process, that wasn’t the cover. The cover was going to be a black and white vertical shot of two people holding hands and kissing. Then, I showed some people and they said it was good, but then Todd Cole stepped in and was like, ‘You have to use this.’ He’s kind of a Jedi. He says things like ‘I’m not telling you what to do, but you have to do this.’ I like the cover image, because it is one of the only images where the subject is looking into the camera.

Format: There is a photo in Death Camp with piss on a bed. What happened?
RJ: There was a roommate and this girl that I was kind of dating, but not really dating. They thought it would be really funny if she gave him a hickey on his neck, like to terrorize me. So she gave him a hickey on his neck and I lost it. I grabbed my camera, went down to his bed – ironically, I gave him the bed – and pissed on his bed. After, I gave him a hug and said, ‘I’m really sorry, but I just pissed on your bed.’ And he’s like, what? And everyone was really freaked out by that for a while. But we’re still really great friends.

More Info: http://www.rjshaughnessy.com/

In between working for high profile companies like AOL, BBC, and Smirnoff, Radim Malinic, a.k.a. Brand Nu, makes time for the little people. You’ve likely seen his work at Format – he’s graced us with, among others projects, the cover art for last issues 50 Reasons You’re Obsessed With Sneakers

After years of award winning creations that have appeared in all sorts of media, and a catalog of beautiful design work, Radim is releasing his first book “Splatters, Shapes & Colours” in October 2007. Currently available for pre-order at his site, or for free at Format, “Splatters…” is a wonderful collection which includes several exclusive works. If you’re cheap, or not lucky enough to receive a free copy, read on to see some of Radim’s eye-popping designs.

“When you learn how to go […] a bit further even for people who don’t deserve it you have a winning formula.”

Format: Hi Radim, how’s it going? Your first book, Splatter, Shapes, & Colours is being released on October 10th, 2007. Please let us know a bit about it.
Radim: Yay, my little book! It’s a self-published 36 page book of the cream of the crop from the last two years of my work as Brand Nu. The book it’s called “Splatter, Shapes & Colours.” It kinda describes the influences and my work techniques, where the art direction of a piece can change with a simple mixture of colours, paint drip or unusual object placed onto my canvas. Inside the book there’s a mixture of commercial projects with the personal favourites and some very exclusive work and previews too. I wanted to give people something a bit special, rather than my online portfolio in printed format. There were only 500 limited edition books printed and pre-orders sold exceptionally well. A copy can be ordered at www.brandnu.co.uk

Format: What did you do before you started doing design professional at age 24?
Radim: Well, where to start? Whatever I did was somehow connected to music and design. At our mid-teens me and my mates formed a band. I played bass and designed our demo tape covers and t-shirts. When we fell out, maybe the 20th time, I started DJing for a good few years. Moved to England to study and ended up working for little company designing T-shirts when the student money ran out. The passion and curiosity led me to where I am now. I started working freelance around a day job where I made it to the top. Decided to quit the 9-5 early this year to go freelance fulltime and never looked back. So really, I was involved in design all along somewhere somehow, but at 24 it was time to take it seriously.

Format: The first book you read on design was about Adobe Illustrator 8. How important do you feel knowing software is, contrasted to things like design principles?
Radim: Don’t get me wrong, I didn’t really learn much from that book. I learned the basics at the age of 15 or 16 when helping out at a little design office during one summer season. They had PCs with Corel 4 or even 3 as it was then their program of choice. So I grasped some of the main logics of using software to design. However, most of the work was still done by hand at that time.

Then I left, did a pile of posters for a nightclub where I DJed for years. When I got a copy of Adobe Illustrator in 2002, I only wanted to know all the shortcuts nothing more. I knew what I wanted to do and I wanted to get there faster. There was million ideas in my head and ten fingers available.

Once there was a guy who read one of my interviews and called me from a bookshop asking which book he should buy. It doesn’t work like that I’m afraid.

Format: You have no official design education. Besides the Adobe book, what are some other ways you have learned about design?
Radim: If you are curious about things, you will find a way how to obtain the piece of information you’re after. For me, it was all about mini obsession to see how it was all done, tracking down typefaces I liked at magazines, more or less little by little discovering the basic principals. These days you get designers installing Photoshop and following some tutorial they downloaded but lacking most of the logic of design or digital art.

It’s well known fact that going to university to study the graphic design discipline will not teach you to design. They might show you how to learn, and how to get your head around some briefs. Students get two years to finish off a project. Blimey, all that time for a couple pieces of work? You’re sometimes in a situation where you’ve got two hours to do the same thing in the real world. One of my mates teaches at a local university and had a female student asking him, “how do you learn to be creative?” Wrong choice of course. I have gone off one, what’s the question again? [laughs]

So, I started from the bottom, learning via observation. Kept my eyes open and digested anything merely interesting to grasp the basics.

Format: Your style is also described as “a complex montage of layered photographic and colorful elements.” How did you develop this particular style?
Radim: As any other digital artist I try to develop with every piece of work I create. Some years ago, I was quite anal about typography, making sure all is tip top. Once I got all over that I was not too happy with using plain images anymore. At my day job then, we were doing a lot of nightclub flyers, experimenting with Photoshop, which was great as we were getting paid for it too. There and then I discovered Digital Vision library. All of their Photoshop stock files just blew my mind and I remember spending a few weekends “studying” blending modes, structures and so forth. I guess it was a process of natural evolution to end up how I do things nowadays. Instead of blending elements together I give them their own place within the piece, put emphasis on the message the image needs to project. There are periods of time where I aim at more photographic elements, then I’ve got a month or two where it’s all drawn from scratch with very little imagery.

Format: Brand Nu’s bio states that you have “an international client list full of returning customers.” What is it about working with Brand Nu that you think makes these companies returning customers?
Radim: The clients in the UK are quite demanding when it comes to time and deadlines. Everything is needed yesterday, it’s rush rush most of the time but you don’t go back to many time to re-do stuff. Americans give you the run for your money, going around in a circle to end up being happy with the proof one. Australians are amazed when you’re happy to work for them on a Sunday and Japanese pay you for the work you’re yet to finish. When you learn how to go round them and blend it all of with a handful of patience and go a bit further even for people who don’t deserve it you have a winning formula. Every time I land a new brief it’s time to think about cracking it and making it the best piece in my portfolio. Agencies commission me for my signature style and I try to broaden it up for the ever so needed variety.

Format: Brand Nu’s work has been described as “sensual and sexy.” Do you agree? Why or why not?
Radim: I have to admit, those words came from a person writing my biography in one magazine and I never thought someone would associate those terms with my work. However, I decided to stick with that mini label.

Working with great photography really helps to achieve it. It would be pretty disastrous to fuck up some really nice images, and some people can do that really well. If you go with a taste and make pretty even prettier you’re onto a winner. Although it’s not always like that. You need to be able to polish the turd if need be. Then you’re a gold medalist.

Format: You got into design through an interest in typography, but many of your projects today do not incorporate type at all. What excites you about design today?
Radim: Oh, good question. I shall say it’s the execution of the idea. We all work with the same pantone swatched, or dpi, print on the same litho printers but it’s the idea and execution of it that sorts out the boys from men. These days someone creates a style and army of apes goes and mimics it badly. Only a few do a good job at it, occasionally push it even further. However, I guess people don’t think their own ideas aren’t too good so they borrow from the limelight stuff a few tips

I get excited about depth of illustrations, ideas, colours, shapes and the feel it evokes. Some work I’ve seen recently was technically great but left rather shallow experience. It was more decoration that illustration.

Format: Because of the technical nature, and consistent style, of your work, many people may overlook the conceptual work that goes into some of your pieces. How important is the initial concept in your work?
Radim: It’s one of the parts of the process that is exciting too. Most of the time new commissions come with new approach and new tackle to the visual problem. Certain parts can be crap and some other may weigh out clients silly demand. To be fair, I have to sometimes pitch myself, I am quite lucky to have free reign on most of the work I do.

Format: What was the transition like to fulltime freelance?
Radim: It was March 2007 when I had a bust up at work about my freelancing getting in the way of my day job. It was a signal to fuck the job off and move on, but I am very thankful for what I’ve learned there. Now I just happen to be doing more of what I was doing after hours along my day job. Weirdly enough, I never feel I had had the day job before and the day I handed in my notice my mobile started to ring even more, with more work pouring in. My fiancé is now working with me, doing the admin things so I don’t have to occupy me twin brain cells with some mundane tasks. I do find myself working inhuman hours, but it’s all quite pleasurable when you see the results and feel the freedom to slack off when you’ve had enough at any time. Also I try to “employ” other people on projects to keep the diversity up. Definitely would recommend it to anyone who handles a bit uncertainty in their life. I was quite lucky that I entered the freelance world with a client list that would be enough to keep us going, never mind the new stuff.

Format: You’ve mentioned that you haven’t turned down too many projects due to the right clientele approaching you. What are some projects you have had to turn down?
Radim: Indeed I said that, almost a year ago. Situation is pretty much the same and if I ever turned down anyone, it was purely down to their attitude or brief. I don’t have any ethos who I work for or not but I’m not a whore either, but one of the projects I’ve declined was to create a new identity for a large leisure company. Knowing the ever so indecisive and shambolic management group from previous experience, I politely made myself unavailable. Would you fancy growing grey hair just because you could make a few quid? Not me, if ever so.

More Info: http://www.brandnu.co.uk/

Collaborators and co-conspirators Zoë Walker and Neil Bromwich
present “Siege Weapons of Love” an anti-militarism
statement that’s akin to spiking rifle barrels with
flowers, albeit on a grander scale.

The British artists lampoon artillery pieces Oldenburg-style with
cartoonish inflatable pink phalli making a strong
statement against the sexual perversity inherent in
all forms of organized violence. Also included are
watercolors that expand on this theme.

Represented by London’s Houldsworth Gallery, this
latest exhibit is now being shown through
4 November 2007 at 1,000,000 mph’s gallery in East London.

1,000,000 mph Project Space
6 October-4 November 2007
59 Old Bethnal Green Road
London E2 6QA map

New York City-based painter Julie Heffernan’s oils look like they were painted by 17th-century Flemish masters in Antwerp. But no, this Peoria, Illinois-born woman is a contemporary artist that can make the rest of us born in the 20th century proud. Her large-scale compositions use the classical style to touch on psychology, gender, motherhood and class. (Click image for detail.)

Raised in Northern California, Heffernan’s lush still-lifes and figurative work has been exhibited around the globe. Next week her oils will be a part of the Mark Moore Gallery’s exhibit that’s part of this year’s PULSE London Contemporary Art Fair in Bloomsbury.

Julie Heffernan
Preview brunch: 11 October 2007, 11am
11-14 October 2007
Mary Ward House

5-7 Tavistock Place
London, WC1H 9SN
map
tel. + 020 7387 9681

5 great PORTABLE PERFUMES: Check out ompact carry-ons for your purse and the plane. Live the SIMPLE LIFE: Get tips for effortless beauty from Zac Posen’s Spring show. THE MANY FACES OF FALL BEAUTY: 50+ ways to get the new looks.

Valentino begins his goodbye tour, which means this is your last chance to live out your fantasy about owning a Valentino. Act now, or kick yourself forever.

Balenciaga was in full bloom on the Paris runways, with a splashy riot of hypergorgeous hydrangeas, pansies, peonies, daffodils, and anemones.

Reuters - Designer to the stars, Italy's Valentino
unveiled glamorous gowns fit for any young starlet on Wednesday
in his last ready-to-wear show before retiring after 45 years.

AP - After putting on the Grammy Awards for nearly five decades, the Recording Academy has learned a thing or two about rock-star style. And now the fruits of that knowledge are for sale.

The “Englishman in New York” theme of top hats and a certain pragmatism was the latest mood of John Galliano at Dior.

Australian artist Luke Feldman’s exhibition of visual and audio artworks, “The Whimsical World of Skaffs,” opens at Seattle’s Bluebottle Art Gallery today, 2 October 2007 and runs through 30 October 2007. Combining visual works with atmospheric music (also composed by Feldman), the world of Skaffs is an AV experience, evidently.

With illustrations composed of simple bold lines, vibrant colors give Feldman’s compositions movement and surrealist backgrounds reiterate the element of fantasy. It’s a style that’s led to a number of high-profile projects, including animation and interactive content for Wallop, a Microsoft social-networking company, as well as illustrations for Coca-Cola’s 2007 advertising campaign. He was also a finalist in the Cut & Paste Digital Design tournament last year.

What’s next for this motivated artist? Look out for the Skaffs vinyl toy line in the near future.

The Whimsical World of Skaffs
2 October 2007-30 October 2007
Bluebottle Art Gallery
415 East Pine Street
Seattle, WA 98122 map
tel. +1 206 325 1592

Check out the video postcards from the front row at the Milan shows, from D&G and Ferretti to Dsquared and Cavalli.

Crimped buns and sculpted faces infused a shot of modernity into Zac Posen’s Shaker-inspired models.

Well it looks like streetwear brand King Stampede has added 2 more tees to their exciting fall lineup.  As you can see, the all-over print/put you name repetitively on your shirt style is still in, by the looks of the tee on the left.  The one one the right is a bit more refreshing though, utilizing a colorful Mexican blanket type design down the middle.  Stay tuned for more from King Stampede, including their upcoming cut & sew collection.

Info.Image:  Boundless via High Snobiety

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Speaking of memento moris and clever watches, Mr Jones’ “Accurate” watch makes the inherent implication of a timepiece obvious. In fact, all of the limited edition models in his line are comments on the daily conundrums of life.

Last time I featured Mr. Jones Watches, he had an exhibition-only series of prototype electronic watches developed to explore new cultural expressions, technologies of timekeeping and how they relate to contemporary life. “Each one was the embodiment of a social critique or observation.”

With a perfect sense of black humor, cultural irony and dry wit, Crispin Jones, the man behind the Mister, described his concepts as “work which lives in the intersection between Fine Art and Design—broadly this area is known as Critical Design—using the language and tools of design to articulate a critical perspective.”

You may have already seen “The Decider,” with markings on the face alternately reading “yes” and “no,” but I was taken with the macabre nature of the Accurate.
Evolved from his original Summissus watch, the Accurate similarly fosters humility in the wearer by featuring a mirrored dial to reflect the viewer along with a semi-subtle reminder of your inevitable mortal time-frame. The hour and minute discs spell out “Remember” and “You Will Die.”

His latest series has now taken this concept to consumption. Now featuring analog watches with rotating discs, each style of Mr. Jones Watches will be produced in a limited numbered series of 100. (£80 each or approximately $160) Don’t lose any more time, they’re close to selling out!

And just released this week, a series of videos by filmmaker Steve Ounanian brings the concepts to life. See them on my blog, as well as a couple other models from the series.

Even as a fashion statement, sweat suits are best reserved for the gym but these Jack’Art versions by French brand Artysm are undeniably fresh. Made in Paris and 100% cotton, the harlequin-like diamond pattern lends a touch of European flair. With all-over woven construction and contrasting stitching, they ooze original style while prioritizing comfort.

My favorites are the sweatpants, as I’m always looking for a way to feel like I’m in bed all day on Sundays but still be able to leave the house. I’ve even been kinda wishing it were a little colder out so I’d have an excuse to wear them.

Different colors and varieties of the sweats, including v-necks, crews and hoodies, are available starting at €205 at Le Bouclard or Styleserver.

Tomas Maier’s Bottega Veneta is one exemplary illustration of how the principles of restrained, minimalist, functionalist design can not only be relevant for now but, frankly, delicious.

London based design house, Bishbo, is taking the world of graphic design by storm with their happy-go-lucky style. Conquering the pages of national newspapers and taken their craft into cyberspace, with some innovative website designs, Jack and Olli are preparing to stamp their company’s name indelibly on these brand-happy days and times. With plans to branch into exhibiting their work in development, people may soon face an invasion of vector-based cartoon vegetables, the likes of which has never been seen before.

“It’s incredible that someone has paid out £400,000 for this logo, to provide something that already looks out of date and it has been criticized by a lot of people.”

Format: How did the company get started?
Bishbo: Bishbo formed in October 2006 as a fun side-project to showcase some of our work. As things picked up and people became interested, we thought about it becoming a serious design studio that could potentially become a successful business and here we are!

Format: Where did you study design?
Bishbo: We have both, from a very early age, been creative people. Jack, from the age of 14 was beginning to practice in Photoshop and learned vital skills from very early on, pursing freelance and self-teaching rather than going to university. We both learned a lot from running our previous business, Alaska, which was a great way to launch into the world of freelance, dealing with clients, deadlines, and trying to stay creative all the time!

Olli spent a couple of years at university studying graphic design and illustration, but left to pursue freelance. We feel that art is something that cannot really be taught. Of course, you need to learn the tools of the trade, but a degree doesn’t always have to be the way to go about it.

Format: What aspects of the design studio do both of you handle?
Bishbo: Things are pretty even, to be honest. We both love being involved with every aspect of the company, as we raised Bishbo as our child, together! That can be, dealing with emails and calls, to self promotion or art for fun in our spare time. It’s hard to pinpoint where we split things, we like to dabble in everything!

Format: What was your reaction to the logo design for the London 2012 Olympics?
Bishbo: We’ve found it hard to really feel anything looking at the branding for this whole event. We feel that it could have been something really special, but it doesn’t really tickle our fancy. It’s incredible that someone has paid out £400,000 for this logo, to provide something that already looks out of date and it has been criticized by a lot of people. Definitely not a classic!

Format: How would you describe your design style?
Bishbo: Bishbo is essentially a mix of character art, organic hand-drawn elements and Photoshop manipulation. We both have slightly different styles but are influenced by similar things. We are big fans of mess, detail and texture mixed with vector. Having said that, one look through our portfolio will show that it’s hard to pigeonhole some of our work into a certain style or influence as it is pretty varied! Of course, if a client is looking for a certain style, that’s something we try to adapt, but given total freedom, we like to dabble with lots of different styles and stick them all together!

Format: How did you come up with the mixed media motif that runs through some of your work?
Bishbo: We just do what feels right and that usually means experimenting with anything. We enjoy photography and drawing, so we always try to incorporate those elements. We’ve been doing this for a while, so it’s all very easy to produce artwork that is within your comfort zone – you know you can make something that looks ok in a short space of time, so we try to push ourselves to do something new, and that can lead to all sorts of ideas, good and bad.

Format: There seems to be a genuine enthusiasm and a dash of humor behind your work. How important was it to you to stamp an identity and personality on Bishbo’s work?
Bishbo: A lot of people have mentioned that and it’s so nice to hear that something we’ve worked hard on, but not taken too seriously, can be appreciated in the exact same way. It is subjective to the viewer, so some of our work has a clear message and point, but if we are working on personal projects, it’s easy to get away with almost anything, which is super fun! We try not to over-analyze things or worry about being individual all the time, that can prevent you from truly doing what you want to do.

Format: If you could make a Bishbo style caricature of anyone in the world right now, who would it be?
Bishbo: Oh – good question. Maybe whoever invented the pizza? I think we’d have to create some sort of idol, actually.

Format: You’ve done work for quite a range of publications. Were there any that you knew straight away that you could really stamp the Bishbo style on?
Bishbo: We try to put our stamp on everything we do, however big or small. It’s important to make every piece your own and as personal as you can make it – there will always be a Bishbo twist!

Format: Any plans for a Bishbo exhibition?
Bishbo: Definitely! In the future, for sure – we’d like to build our portfolio a little more yet. Some of our work was recently shown in the fantastic Synth Eastwood exhibition in Dublin, Ireland.

Format: So far, what’s been your favorite project?
Bishbo: The book cover for Carlton Publishing was great fun. Having both worked a lot in the music industry on CD packaging, there is an entirely different buzz when working on a book.

Format: All art looks to provoke some sort of reaction from its audience. What reaction are you looking for to your work?
Bishbo: We think people can see the humorous side to things which is great, because it’s definitely intended. On the more serious projects, hopefully people can feel inspired. But really, most people probably feel hungry with all the food we feature in our work.

Format: Are there any design jobs, magazine layouts and advertising campaigns that have been in the public eye that made you think, we could have done a really good job of that?
Bishbo: Being creative, we are constantly looking at ads and scrutinizing them! We basically feel that there are some extraordinary designers out there, so there is really no excuse for any bad art and design to be plastered across billboards. Particularly, with bigger brands. Not to sound too snobbish, but there are some advertising campaigns out there that are truly mind blowing, and all companies should aspire to that. And no we’re not naming names!

Format: What would you be doing if you weren’t running a respected design studio?
Bishbo: We both have pretty strong interests in music and have been co-producing from our home studio for over four years now. It’s always fun, but would be difficult to build up a career from something that you’ve only dabbled in. It could happen though, maybe!

Format: What artists inspired you to do what you do?
Bishbo: Bruce Chizen – just kidding! We are inspired by a lot of artists, as well as everyday things. Growing up, we appreciated an eclectic mix of things; from Sanrio to Mucha, so, maybe, that explains our mixed style! These days, it’s so easy to browse around for 30 minutes on the Internet, and get over inspired!

Format: What’s next for Bishbo?
Bishbo: Well, we just launched our store which is a learning curve, for sure, but we are happy with things, so far. It’s entirely new to us, but we’d love to expand things as soon as we can. We have lots of ideas for this, and it would, hopefully, bring an entire new audience to the site. We have a few interesting collaborations coming up soon, which could lead to other things, but more on this soon. We’re both keen to produce a children’s book, but that will be a while away yet, we’ll see!

Format: Finish the following statement: Bishbo is…
Bishbo: Hungry! Always, hungry!

More Info: http://www.bishbo.com/

With ruched chiffon, leather belts studded with military medallions, and stacks of chain bracelets, the sexiest version of Burberry yet hit the runways last night.

GIANFRANCO FERRÉ 2008 Ready-to-Wear Runway Show: COMPLETE COVERAGE NOW ON STYLE.COM

See all the shows so far

D&G 2008 Ready-to-Wear Runway Show: COMPLETE COVERAGE NOW ON STYLE.COM

See all the shows so far

Check out all the photos and reviews of London’s top shows, from Fashion East’s Henry Holland to Marios Schwab, and every designer in between.

Since this spring, San Francisco-based fashion
designer Zoe W. Brent has been giving used “hoodies” a new lease on life with her line called Hoodfix.
“I guess I started getting into hoodies particularly
when I started living in SF where there’s no season
where you don’t want to be wearing one, since it’s
foggy so much of the time,” Brent tells Cool Hunting.

Featured in Thrillist which noted that Brent
is a “one-woman operation”, each garment is hand-sewn
from quality, preowned hoodies that have been
abandoned by their previous owners.

“I work very spontaneously, no patterns, each piece
starts from a used garment and then ends up as unique
item that incorporates the eccentricities of the piece
it started from,” Brent says.
Starting around $50, Brent takes orders on her website in which you can
describe, in a few sentences, what kind of style you
are after. Once that’s done, you’ll just have to have
a bit of faith. But from the samples we’ve seen,
you’re in good hands.

“I really like collaborating with people so that the
result is something special for that person,” she
says. Still another option is to provide her with an
old hoodie of your own which she will retool into a
new-styled garment that still has the sentimental
value of its earlier incarnation.

Although he is a prolific artist, painting many subjects, “Dave White” has, since 2003, become synonymous with “sneaker painting” in the street culture community. A frequent collaborator with Nike, and the staple of artist of the Sneakerpimps Tour, Dave White should be, at the very least, familiar (especially considering we interviewed him last year), to anyone who is involved in sneakers. A year after our introductory interview, Format catches up with Dave to talk about his change in style, his new series, and the launch of the Dave White apparel collection.

“If you look at the works of say Monet or Van Gogh, they explored their personal subject matter through repetition and exploration.”

Format: From 2006 to 2007, your style of painting sneakers has changed. What sparked this change?
Dave White: There is as noticeable change in the new works, much the same as the changes I made from the original paintings in 2002. It all comes down to development and refinement of the subject. “The Court’s a Battlefield” series showed another angle on my work.

Format: To what degree does painting sneakers become repetitive? Besides stylistic changes, how do you handle it?
Dave White: If you look at the works of say Monet or Van Gogh, they explored their personal subject matter through repetition and exploration. All artists today have a signature subject and style. The process I use means that the paintings are never the same, even when I have made numerous versions, the outcomes are very different. That is one of the main purposes of the work, to use mass produced iconic objects and make them totally unique.

Format: Your tie-in to sneaker culture is undeniable, and it accounts for a large portion of your income. To what degree has painting sneakers become the Dave White brand?
Dave White: I have become known for the Sneaker paintings in street culture which is something I never purposely set out to do, it was just a totally organic process and one I am very grateful for. However, I have been an Artist all my life and sneakers are one of the subjects I explore. Most people know me for painting a variety of subjects, so I guess the brand is more synonymous with my name rather than any particular subject matter.

Format: Touring with Sneakerpimps, you get to see sneaker cultures representation, globally, from the consumer side. How do you see sneaker culture change when it is represented in different regions?
Dave White: To be honest, up to now it’s pretty much stayed the same, holy grails stay the same, the love for Jordan is global. Apart from territorial SMU’S [special make ups] everywhere I have been people rock the same shit. However, change is on the cards. I witnessed a massive stylistic change in Japan on a recent trip. This is filtering through already.

Format: Who are some of the most important people currently active in sneaker culture in your opinion?
Dave White: The obvious such as the designers, peers and the people that take risks releasing product that’s just totally out there in originality. I would have to say the heads. I mean the passion and obsession I have witnessed over the past five years is incredible.

Format: Please speak about the Internet’s effect on sneaker culture.
Dave White: How many people start their day with a quick few hits to Freshness, Slam, and Hypebeast etc. The effect on the culture is unsurpassed. The hunger for information on all aspects of sneaker culture means the Internet is really the only place that can keep up with the sometimes infinite information that quickly becomes yesterdays news.

Format: 2007 marked the release of the Dave White apparel collection. Please speak about the development of the line.
Dave White: Firstly the brand is all about the paintings, that’s the source. We spent over 18 months getting it right. Being able to capture the texture and exact surface of the original canvases. The full color Sneaker Tees are screened over 10 times. The most important aspect was quality and this came right through.

Format: What was the response to the collection?
Dave White: Amazing to be honest with you, it’s repped all over the globe in the places we wanted it to be in. We were totally overwhelmed by the reply and couldn’t meet the demand, so sorry for those that missed out. It was cool to receive such as nice reception on the first drop, from established retailers globally and also from folks just dropping me an email or message on MySpace.

Format: What is the status of the brand now? You’ve only dropped one collection, when is the follow-up and what can people expect?
Dave White: Season One closed and sold out. I have just finished Season Two and we are sampling at the moment. The materials and processes are going to be hot. Also I have based a number of items on a few of my favourite colorways. Also there are a few surprises.

Format: Anything else you would like to discuss?
Dave White: I have been working in total secrecy for the past nine months on my latest subject matter, all will be revealed in December!

More Info: http://www.davewhite.me.uk

Tokyo’s KIKS TYO was launched by creative director Shinichi Izaki a.k.a. hobby:tech and his muse, Aki Hoshino, one of Japan’s legendary bikini models.

Shinichi has created two websites for Kiks Tyo, one catering to the English market, and the other, a Japanese version looking a bit bootleg-esque, that is, until you navigate the pages and discover Shinichi’s impressive credentials as a world renowned sneaker collector. He has designed for big wigs including New Balance Japan, Nike, Vans, Adidas, Levis, Eames, United Arrows, Fred Perry, Beams, Honda, Warner Brothers and DC Comics.

A producer for Universal Music Japan, a professional DJ, host for Street Jack TV and columnist for the widely-popular Street Jack Magazine, Shinichi is, needless to say, a man of many talents.

“For the time being, we still have a lot to reveal to the world about Japan and the way we as Japanese see the world.”

Format: How old were you when you independently bought your first pair of sneakers. What made you fall in love with them?
Shinichi Izaki: I remember it was 1985, when I was 10 years old. The first pair of sneakers I bought was a pair of Air Jordan 1’s. I was so shocked and excited when I first saw MJ playing basketball, and ever since he’s been my hero. I did everything I could to earn money so I could get those AJ1’s.

Format: At this point in your career, what is more important, the music or owning the clothing company?
Shinichi Izaki: Wow, this one is tough. It’s like I have to choose either air or water to live. Music is one of the elements of my lifestyle. Just like sneakers. No music, No life. On the other hand, owning the company is very important because we have employees working with us and as an owner, I have a responsibility to look after them. I don’t know about the other companies, but for KIKS TYO, all the members are just like family including myself.

Format: What makes a good designer?
Shinichi Izaki: Passion, inspiration, and sense of humor.

Format: If you could collaborate with an haute couture designer who would it be and why?
Shinichi Izaki: Since each of the designers have their own taste, style and policy, I think it would be so much fun if we could collaborate with every designer out there, just to see how KIKS TYO would turn out through their senses. If there’s any chance or opportunity to make it happen, we’re willing to do it for sure. I just respect all the designers that are making it happen creatively.

Format: As a sneaker collector what do you look for in a collect worthy item?
Shinichi Izaki: AJ series, NB1500, 576 series, Puma Clydes, Adidas Super Stars. No doubt!

Format: What’s the difference between a sneaker lover and a sneaker collector?
Shinichi Izaki: Sneaker lovers are people who literally have love for their sneakers. Sneakers themselves mean everything to them. Value or rarity is not the priority. They just love the sneakers and they love to wear them.

On the other hand, sneaker collectors are all about value, rarity, and how fast can I get those shoes mentality. Those collectors usually don’t wear sneakers they consider rare or valuable. They are just satisfied to get them and maybe to brag to someone else.

I think they are both important for the sneaker culture to make it hot and to keep things interesting and evolving.

Format: How did you get involved with the G-Shock, New Balance & Aki Hoshino collaboration?
Shinichi Izaki: I’ve been working closely with Casio G-Shock for almost five years on their promotions. Actually I’m a director of the project. This year I started working with New Balance on their promotional projects as well. Aki Hoshino is a really good friend of mine, and I just thought it would be dream come true collaboration and really valuable promotion for all of them to make it happen. I don’t think anybody ever really imagined a sneaker-watch collaboration before though they are both big icons for the street fashion scene. Since the Aki Hoshino Tee was one of our signature items that really connected with fans of KIKS TYO, I thought “why not bring them all to one table?”

Format: From your earlier days with the company, tell us of a sneaker or piece of apparel you created that you are most proud of.
Shinichi Izaki: We’re proud of the New Balance project that you mentioned. All sneaker nuts walk around thinking about what we’d do if the opportunity ever came our way. So it was an honor, but like everyone we were somewhat prepared with ideas. We always wanted to apply universal design concepts that for one reason or another, NB never really tried. So we mixed elements like suede and patent, splatter, reverse colors (black/yellow, yellow/black), specially made lace locks, etc. The element of collaboration helped take things to a different level. The execution was perfect at the sample stage. NB Japan doesn’t really play around in terms of production. They went all out for us. We were so amped when we got the samples that we leaked a few images of what was coming. Since then the reception has been overwhelming. We just wanted to help create a trio of memorable sneakers. Hopefully we succeeded in that regard.

Format: What are the odds of KIKS TYO offering modeling campaigns to top urban models like Melyssa Ford? Do you see the company going that route for a wider North American appeal?
Shinichi Izaki: For the time being, we still have a lot to reveal to the world about Japan and the way we as Japanese see the world. So we hope that any appeal would be based on an attraction to what we know and what we show. It’s the same way that we look to brands, artists and shops from places like NYC, Los Angeles, Hong Kong, Canada, Berlin and South East Asia to reveal their worlds from their vantage point. But we all connect somehow. That being said, could you hook it up?

Format: Do you think the sneaker design market is becoming saturated?
Shinichi Izaki: To view the market on a business level, yes. However I feel that there is limitless creative potential out there. There’s still a lot of room to move with regard to design, materials, applications, and a more seamless merging of performance and lifestyle.

Format: When it comes to making an apparel company successful, do you believe in strategic planning or creative instinct?
Shinichi Izaki: Both are essentially important. And to find success, whether that means sales, or reputation, or helping to cultivate or invigorate a scene, I believe that one should strive to think and act as a pioneer. Eventually those thoughts and those actions find there way into your strategy and into your plans. You find yourself striving to become “the first” as instinct. And that shows in the ways you go about creating. With this mindset, success should come, as failure isn’t part of the equation.

Originally, a lot of people around myself and KIKS TYO asked “why we would do something stupid” like have Aki pose with a pair of sneakers. To them, it just didn’t make sense. It was just a girl and a pair of sneakers. But we’re joining two different worlds that have never been fused with creative intent. Every single person in Japan knows Aki Hoshino. She is a sex symbol and a media icon. But how many people know about the sneaker world? How many everyday people could accept or understand such an otaku hobby, or any other related subculture for that matter? For some people in Japan, seeing Aki pose with the sneakers that they treasure is like salvation. It represents a kind of validation of their existence and their lives, an acceptance. Is it a fantasy? Yes. But it is also very much a reality. And below the surface, maybe the tees work to reveal something bigger than simply “sneakers and girls.”

Format: Now that you have all this under your belt, DJ, designer, recording artist, personality, what’s next?
Shinichi Izaki: Nobody knows what tomorrow might bring, but I’d like to continue building and introducing the world to KIKS TYO. We’re lucky to have friends who support us, and I always look forward to spending time in their local element. There are many other hats I’d like to try on down the road in the worlds of film, technology, publishing, sports, racing. I’d also like to help build and expose to the world the younger generation of creators that exists around us in Tokyo and through out Japan.

More Info: http://www.kikstyo.com

From the role that made her a star to running Australia’s largest theater company, after almost a decade, Cate Blanchett still has it.

For your purse and the plane, these five portable, compact perfumes are the perfect carry-ons.

PUMA has teamed up with the Bicycle Film Festival and some of their favorite magazines – VICE, The Fader, Anthem, Swindle, URB, Theme, and XLR8R – to create the Re-Bike Project. Each magazine was given only $200 and asked to make a bicycle in a style depicting their zine’s personality completely out of recycled parts. The bikes will go on display at the traveling Bicycle Film Festival and will be auctioned off for charity at the end of the festival.

Info.Image: Hypebeast

Somewhere Helena Bonham Carter is licking her chops….

My editor Kelley just sent this to me for a laugh. I ended up cowering in the corner. This frightening look from the fluent hyperbolist, Roksanda Ilincic showed yesterday in London but would look more at home on a Sunday in East Rutherford. It would really suit Jeremy Shockey.

I’d love to see the anatomy of that jacket and how the super-sized shoulders are retaining their frankensteinian shape.
For the record, the rest of the collection is lovely with a sharp color palette of wonderful yellows and silvers. There are just a few pieces bordering on ridiculous.

Princess Diaries, Cake Topper, Knight in White Satin: Who had the best look? Vote on your favorite!

At her show in London yesterday, Luella Bartley’s Liberty-print florals were an object lesson in how to contradict sweet with street.