Air & Ocean

Flight Ban Lifted

The Revol-Ocean is at hand

Images by KLV

Highstreet Animalia

It's been a while since I've bought any new clothes so I'm very excited about my leopard print River Island T-shirt. It was £16 which is maybe twice if not thrice the price of what I'd normally pay for just a T-shirt but thankfully I didn't have to pay for it, my Dad came to visit and it's exactly what I've been wanting so I'm particularly appreciative. To go with this, a couple days later I found some what I'd say is classy animal print underwear, not only that but the Topman jewellery sale had a few little gems on offer. 

 

Some feather experimentation with Camilla and my feather trim. Now that my millinery cotton wire is on the way I'll finally be able to start up with the hairband production! 

Images by KLV

Hairbands: Verdant, Fuchsia, Citrine & Argent

These first two hairbands are based around the favourite colours of their respective owners and though normally I wouldn't use such bright colours, the magentas and greens were certainly appropriate this time around. Below 'Verdant' and 'Fuchsia' are two other hairbands I've recently made, the first 'Citrine' was a birthday present for my flatmate and 'Argent' a commission. 

Verdant

Fuchsia

 Citrine

Argent

Hairbands and images by KLV

DIPTIQUE Part 4

Another Africa and K.L.V. have collaborated on a series of diptychs that compare an intensely rich source of inspiration born in Africa with the realms of the worldwide arts and fashion. On view, the ingenuity of African masqueraders, gleaning mother nature's closet to create visually arresting disguises.  Juxtaposed with contemporary art and fashion images, the pairings highlight the qualities that connect, complement and contrast, but ultimately celebrate creative ingenuity. This is the final part of the DIPTIQUE series.

 

 (L) Yaie Masquerade, Burkina Faso. Photographer unknown. Source | artismyhustle

(R) Guido Palau, 'Mohawk V2' for the “Alexander McQueen: Savage Beauty” exhibition. Photographs by Graeme Montgomery. Courtesy of the New York Times, T Magazine.

(L)  Phyllis Galembo, Minor Ekpe Masquerade with Mango Leaves, Calabar South, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) BLESS, N°43 Know Howowow, 14.03.2011, Hélène.

(L)  Phyllis Galembo,  Agot Dance Group, Etikpe Village, Cross River, Nigeria, 2004 Image courtesy of the artist and Tang Museum.

(R) Issey Miyake. Photo | Irving Penn.

(L)  Phyllis Galembo,  Burkina Faso, 2006. Image courtesy of the artist and LN-CC.

(R) Henrik Vibskov, The Fringe Project #10.

(L)  Phyllis Galembo, Gwarama Masquerade, Yegueresso Village, Burkina Faso, 2006. Image courtesy of the artist and Tang Museum.

(R) Iris Van Herpen, Mummification A| W 2009 collection.

 

 (L) The Beri - Nyâna, or men's devil of Western Liberia (The Bundu of Sierra Leone), circa 1906. Source: NYPL Digital Gallery.

(R) Nick Cave, Soundsuit 2011. Courtesy of the artist and Jack Shainman Gallery, New York.

  

(L)  Phyllis Galembo, Sierra Leone, 2008-2009. Image courtesy of the artist. 

 (R) Killian Loddo, Fantastic Goodbuy - Entity.

 

(L) Phyllis Galembo, Baby Dance of Etikpe, Cross River, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Lucas Simões, Desretratos series. 

(L) Phyllis Galembo, Akata Dance Masqueraders, Ogoja, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Rozalb de Mura S|S 2010 Collection.

 

(L) Phyllis Galembo, Abora Traditional Masquerade, Cross River, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Michael Lau S|S 2010. Photo | Getty.

ANOTHER AFRICA

Another Africa is an online platform and magazine that showcases contemporary Africana through arts, culture, design, fashion, music , literature and film. Another Africa as its namesake, proclaims that another dimension to Africa exists.

DIPTIQUE Part 3

DIPTIQUE 3

Another Africa and K.L.V. have collaborated on a series of diptychs that compare this intensely rich source of inspiration with the realms of the arts and fashion. On view, the ingenuity of African masqueraders, gleaning mother nature's closet to create visually arresting disguises.  Juxtaposed with contemporary art and fashion images, the pairings highlight the qualities that connect, complement and contrast, but ultimately celebrate creative ingenuity. This is part three of the ongoing DIPTIQUE series.

 

(L) Phyllis Galembo, Baby Dance of Etikpe, Cross River, Nigeria, 2004.  Image courtesy of the artist and Tang Museum.

(R) Vogue Homme Japan Beauty.  Photo  | Willam Selden. Styling | Nicola Formichetti. Hair & Make-up | Katsuya Kamo. Photo courtesy of Vogue Homme Japan.

(L) Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.
Masked performers wearing Chi wara headdresses known as N'Gonzon Koun (antelope) circa Bamako, Mali, 1970.

(R) Bamana Chi wara pair from Mali. Image courtesy of Discover African Art.

(L) Phyllis Galembo, Affianwan, Calabar South, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) White Crested Black Polish Hen, Studio Series. Image courtesy of My Pet Chicken.

(L) Phyllis Galembo, Panther Masquerade, Samaga Village, Burkina Faso, 2006. Image courtesy of the artist and Tang Museum.

(R) Agate Drusy Ring by Joya, South Africa

 

(L) Phyllis Galembo,, Jaquar style of Ekong-Itaghafon, Calabar, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) Image credit unknown | source | barriobajero

(L) Phyllis Galembo,  Ngar Ball Traditional Masquerade Dance, Cross River, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Issey Miyake by Irving Penn, S/S 1994 - The Flying Saucer.

 

 

(L) Phyllis Galembo, Egungun, Djidjimbo Safou Ognon Warrior, Adandokpodji Village, Benin, 2006. Image courtesy of the artist and Tang Museum.

(R) Gabríela Friðriksdóttir , Endless Light. Courtesy of the artist and Osram.

 

(L)  Phyllis Galembo,  Burkina Faso, 2006. Image courtesy of the artist and LN-CC.

(R) AKATRE, Kreyol Factory, Contest for La Vilette.

(L)  Phyllis Galembo, Ekpe, Calabar South, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) Francis Montesinos, A | W 2009. Source | Trend De La Creme.

(L)  Phyllis Galembo, Atam Masquerader, Alok Village, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Nicole Dextras, Cabbage Smock, Weedrobes Wardrobes, Weedrobes - Summer. Image courtesy of the artist.

(L)  Phyllis Galembo, Gwarama Masquerade, Yegueresso Village, Burkina Faso, 2006. Image courtesy of the artist and Tang Museum.

(R) Yam & Walnut packaging, Package Design in Japan, Taschen, 1989.

(L) The Beri - Nyna, or men's devil of Western Liberia (The Bundu of Sierra Leone), circa 1906. Source |  NYPL Digital Gallery.

(R)Walter Van Beirendonck, Paris, A/W 2011 Menswear.  Photo: Umberto Fratini / GoRunway.com. Courtesy of style.com

 ANOTHER AFRICA

Another Africa is an online platform and magazine that showcases contemporary Africana through arts, culture, design, fashion, music , literature and film. Another Africa as its namesake, proclaims that another dimension to Africa exists.

Forage

The Bermondsey based exhibition 'Urbandsey' took place on 14th April and as the name suggests it followed an 'urban' theme. As a follow up to my 'Ancestors' collection from the previous exhibition (see here for the images) Open/Closed, I modified a set of men's hats with natural materials that I scavenged from my local area and from this the name 'Forage' was born. The key materials were fox bones, wood pigeon feathers, a dead sparrow, faux fur and foliage. My intention was to give this urban associated headwear a feral edge, these pieces can be seen as both a signifier of the rural reclaiming the urban but also the rural bending to the will of the urban. In either case these hats are neither one or the other and a possible ideology of the balance between human and nature. 

Cervid

Cervid was constructed on a sports cap with final shape, and materials used, being reminiscent of some form of hunting attire. With a cervid being the name of an animal from the deer family, combined with mammal inspired qualities and especially the antlers, it seemed an appropriate name and acts as a representative for fur and mammals in this collection. A transgression from the leather to fur and finally the deer head.

Columba 

This was the first hat I completed out of the four, comprising of wood pigeon feathers and one of two dead sparrows I have. The name derives from the genus of 'typical pigeon' that includes the species that provided the feathers, reconstructed from singular findings to form a bird like entity. Through Cervid we have the covering of the head in fur and leather, with Columba it is feather that takes the centre stage and an to show the more refined look of the pigeon.

Vertebrae 

This bowler hat has been adorned with my most important materials that border on spiritual, a fox spine that I found almost in the state you see it though there were several cleaning processes inbetween of course. The human race has historically used and continues to use bone in body adornment all over the planet, so bringing this tradition into the urban setting is satisfying for me. Also important to this design are the highly symbolic connotations of the fox as an animal with associations as the trickster, fire bringer or creature of the afterlife. As a final point, you will frequently see examples of the fox taking on human qualities or the the creature actually transforming into a man in popular culture. With this my hat is a result of urban meets rural, human meets animal. 

Strobilus 

 The final hat, another sports cap, is based around the true name for pine cone - Strobilus. The Strobilus or Megastrobilus is the female sexual organ of the conifer tree, so in affect I have constructed a mohawk shape of plant genitalia. This ties in with the notion of Mother Nature and the reproduction of plant life to take back the urban should the time of humans pass, with the buds of other trees and bushes beginning to emerge.

 

All Images and Headwear by KLV