MARSHALL GOES ‘FACE-TO-FACE’ WITH KATE, AT IMITATE MODERN!

Have you ever wondered what it might be like to be cradled in the arms of a rainbow?

If so, then you’ll find the answer ensconced within the arc-of-screenprints, in “40 A Kate Moss Retrospective”, by ultra-talented artist, Russell Marshall, currently showing at the enchanting ‘Imitate Modern’ art gallery!

On one level, your eyes race to absorb the high-definition, technicolour dreamscapes which coat the walls. Time flits by as fast as you can blink, whilst you remain transfixed by the neon shocks of sherbet-pink and acid-yellow, bouncing like laser-beams from a New Year’s Eve disco-ball! Quick-as-a-wink, you are compelled to follow the spectral-story wherever it leads and begin to register shades which resound like a chromatic scale… Prints in-the-key of shimmering-silver and incandescent-pearl are laden with outlines of indellible impressions…

Fully-acquainted with the cornucopia of exceptional colour-charts, you then begin to focus-pull onto the subsequent layer of visual stimulae, present in the undoubted recognition of, not only a face, but ‘The Face’ of Kate Moss, staring back, as if to guide you from one incarnation to another.

It is at this point, that your heart-rate evens out…

 The ‘pop’ which Russell has told me he would like the palette to have, has been achieved and so begins a new narrative, of taking a visual tour around Kate’s career, through the viewfinder of the former journalist and editor. The immediacy of being subjectively engaged at such a rapid rate, yields to a futher immersion, into a state of ‘objectivity’, yet it is neither stereotypically cold nor separate. It is, in fact, replete with a distinct clarity, founded in true warmth and admiration for a woman of real character, who has eclipsed the notion of ‘celebrity’ and, rather, re–defined and re–valued it. This facilitates a deeper connection to the potent colour-combinations, which serve to highlight the myriad facets to her own, vibrant personality. Furthermore, Russell’s editing sensibility is masterfully employed, in exhibiting specific screenprints which, at once, reveal the wide-eyed potential of a young girl, spotted at the age of 14, whilst also uncovering her scintillating, Bardot-èsque vulnerability, her ethereal elegance, swathed in full-length gowns and floral-sprays and an haute couture-regality, resplendent in Vivienne Westwood!

An added spin to the retrospective, it that of the journalistic element, for as the walls have Kate’s eyes, they also have her words! Quotes such as “Never complain, never explain” quietly indicate a certain pragmatism, whilst others celebrating the ‘girl-about-town’, like “I haven’t partied since last Friday”, positively scream from the rafters! Displayed alongside columns of biographical copy, by Amy Watts, the twist of presenting silk-screens, which constitute a statement as to the real definition of celebrity, in a 3-D newspaper format, is both witty and entirely evocative of the wondrous days of the old-fashioned handprinting-press! Encompassed by musical soundwaves dripping with Britpop, the White Stripes and Primal Scream, the audio-visual, launch-night mind-meld, completes the journey!

In essence, “4o A Kate Moss Retrospective” is a startling adventure with the ability to engage the viewer, by transporting them through the career life-cycle of a living legend. From the girl-next-door, whose diminutive stature should have ruled her out of the modelling industry, but which actually set her apart, to the celebrated Mother, Supermodel and Designer, Russell Marshall is a maestro of multi-dimensional expression. The single plane of a screen is doused in prismatic vibrance, which facilitates an optical appreciation of beautiful images…Yet, in accompanying them with written and quoted content, Kate’s joie-de-vivre becomes even more apparent. What with each of the ten works being a limited edition of one (the variations of which can be chosen from ten unique colourways), the concept of honouring individuality, is perpetuated. According to the artist, himself, there might even be a gentle ‘tap’ of the frame during its production, just to add a perfect imperfection, which is undetectable to the naked eye, of course, yet, intrinsically embedded within each wonderful work!

It is this eloquence of embracing the idiosyncratic and the courage to express it, which, almost a week after the private viewing, still echoes within. Whether or not you find yourself in the spotlight, the truth of who you really are, will always enable you to shine. Such an enduring and empowering message was shared by Russell Marshall on Kate Moss’s 40th birthday and I wholeheartedly encourage you to do the ‘grand tour’ for yourself, because the writing’s on the wall… this incredible show is an undeniable hit!

“40 A KATE MOSS RETROSPECTIVE” RUNS FROM: 17TH JANUARY > 15TH FEBRUARY 2014 AT: IMITATE MODERN, 27A DEVONSHIRE STREET, LONDON, W1G 6PN ~ MON>FRI: 10a.m > 6p.m ~ FREE!

www.imitatemodern.com ~ www.beautifulcrime.com

©AFROW2014-2019 ALL RIGHTS RESERVED

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FACEBOOK FEEDBACK FROM RUSSELL MARSHALL!

‘Great review by Afrow… thanks..’

MARSHALL GATHERS MOSS AT IMITATE MODERN? ‘I’M’ IN!

To many, the mere mention of Marylebone conjures up one of two things… One, being the waxworks of Madame Tussaud’s, the other, being Mr Sherlock Holmes! However, make your way, on foot, via a concentration of Oxford Street shoppers, across, oft, car-clustered roads, along a, mainly-residential, thoroughfare, in the direction of this Fitrovian district and you will soon happen upon another reason to become well-acquainted with the area. The new name to add to your cerebral rotary-filing system, is that of the “Imitate Modern” Art Gallery.

First impressions of the building are that this is not your usual exhibition space. Then again, being situated amidst some of the finest chocolate-box environs of London, you would expect nothing less! In fact, it is akin to an ‘open house’, of the most elegant, listed ilk! Modest, classic, it is a mirror of its curator, Jaqui Pittack, with a warmth and effervescenct energy, which disseminates throughout her amazing team of Imitate Modern-angels and radiates out into the ambience. That it is situated without earshot of  the blaring horn-orchestra of motor-vehicles further facilitates the pleasing exchange which stillness affords, as you take in the array of modern-artistic talent, fastidiously hung upon the walls.

I have first-hand experience of this, since I had the distinct pleasure of attending two back-to-back events last December, spanning the worlds of altruism and art-inauguration. The former, part of of the ‘Christmas Wish List’ evening, not only served to toast the season, but also helped the homeless, by auctioning an original canvas by the incredible ‘Stik’, and raising a truly healthy sum for ‘The Big Issue’. The latter, unveiled the unswervingly dynamic collaborations between urban pop-artist Rich Simmons with, both, zeitgetist power-photographer, Tyler Shields, and inspirational street-artist, ‘Parlee Erz’.

In high-spirited accompaniment, were pieces from thought-provoking, statement-artist ‘Cartrain’, the relentless, Jackson Pollock-esque abstracts by George Morton-Clark, adroitly-complemented by a witty series of signature, monochromatic works from ‘The London Police’ and skilfully-balanced by the intense, yet, uniquely delicate, sepia-toned goddesses from the accomplished hands of Rosie Emerson. Yet, this group form only a tranche of the distinguished talent comprising the Imitate Modern collective.

Little wonder, then, that with such a diverse creative roster, the gallery has consistently caught the attention of the media, including such publications as “Tatler” and “Vogue”. Even less, that it is this beautiful West-London location, which has been chosen to house the imminent arrival of its latest exhibition by gifted artist, Russell Marshall, entitled “40 A Kate Moss Retrospective”. Presented in collaboration with Urban/Contemporary Art-brand, “Beautiful Crime”, it is in dedication to and celebration of the supermodel’s 40th birthday, featuring ten screen-printed canvases, in a selection of ten hues, themselves, available in ten variant colour combinations! Sourced from Marshall’s own photographs, each canvas captures the model at differing stages of her career, from the new-face, spotted at an airport, through to her meteoric rise to entrepreneurial/iconoclastic status… and the anticipation has set the world’s media on fire!

They’re right to be excited!

Imitate Modern is the perfect backdrop in which to showcase the visual journey of Kate Moss, who  has been a fearless and bold protagonist within the Fashion Industry. Her ability to encapsulate and inspire trends has seen her career catapult her into the upper-echalons of her field, yet she has maintained an inner poise, which has infused each campaign with greater depth and authenticity. So, here’s to you at 40, Kate…and to being 25 years, strong, in the one-off world of la mode….

…..Long may your fashion-forward meteor continue to rise!

“40 A KATE MOSS RETROSPECTIVE” RUNS FROM: 17TH JANUARY > 15TH FEBRUARY 2014 AT: IMITATE MODERN, 27A DEVONSHIRE STREET, LONDON, W1G 6PN ~ MON>FRI: 10a.m > 6p.m ~ FREE!

www.imitatemodern.com ~ www.beautifulcrime.com

©AFROW2014-2019 ALL RIGHTS RESERVED

LCM: THE HEAVENS OPEN AT TOPMAN’S AW2014 SHOW!

Dark. Dank. Devoid of sound.

Booooom!!!

The edgy power of John Cooper Clarke cuts through the ether…His weighty words, doused in a Lancashire accent, darting rhythmically about like vocal strobes.

The spoken word hits a crescendo, his last line held in the air, embraced by nothingness.

Within seconds, action ensues, as mist-for-lighting announces the dawn in Topman’s LCM showspace. An industrial location is revealed, with a concrete catwalk, dressed, intermittently, in pools of water and as deep, electronica replaces the solo, the first model, with already-drenched hair, turns the corner into this brick-clad world of ‘Wuthering Heights’, breaking the modern-day barrenness with an opening AW14 look.

Black literally set the tone, represented by substantial, single-breasted, over-sized, overcoats, such as the duffel, with a popular toggle-fastening and their double-breasted counterparts in waist-hitting jackets. PVC bonded to ‘notch’-lapels, patch-pockets and block-hems, added textural impact to the round-shouldered silhouettes, which skulked the pass. ‘Wet-look’ variations-on-the-theme would be presented in high-shine, lacquered-leather separates, impressively accentuating apparel in shape, form and line, whilst also defining details through such simple, yet effective, techniques as piping. Within this section, the colour propostions mirrored the autumnal palettes of moss-meadow green and mushroom, with red-based plaid shirts and tassled jackets (echoing the cowboy-themed SS14 motif), acting as the flash of sunlight, breaking free upon the moorland.  Knitwear was rugged. At times, no-nonsense, with exaggerated, chin-cupping roll-necks, in open, cable and honeycomb weaves, resembling stylised fishing-nets…At others, given lozenge-beading and bouclé, to revisit pops-of-colour and to add surface characteristics.

Yet stronger spectral statements flooded onto sumptuous, full-length coats, in blazing orange, with matching, ‘jazzed-up’, ‘zoot-suit-style’ pants, voluminous and billowing against the strength-of-momentum with which the models strode through the venue. The pieces were also to be reprised in baby-blue pastel, a further homage to the tonal story, which has played a starring role in the sartorial spring/summer repertoire of many a design-house. The next seasonal trend-transition to be encapsulated, was the see-through mac, of long and short dimensions. Layered alongside these key advents into eye-catching shades, they complemented the story, with a revealing twist. Signature tailoring, for which the brand has become so higly-recognised and revered, featured in juxtaposed fashion to the drop-shouldered, full-pant ensembles, instead shown as straight-lined, straight-legged, suiting, in shipyard-slate and charcoal-greys, ever-echoing the ‘working-men’ of the past.

With the last look of black roll-neck, oversized, three-quarter length, matt, PVC coat and glistening liquid-look trousers, the Topman AW14 Collection had brought us to the end of our tour-of-the moors….or so it seemed…The last hurrah was an indoor downpour of rain, which fell upon the models as they walked the finale! It was an other-worldly end to a show which was typical of a collaboration, headed by the ebullient Gordon Richardson, and backed by an amazing design-team who know exactly who their ‘man’ is. To me, he’s a powerful, passionate, hardworking, salt-of-the-earth, modern-day Heathcliff and he wants his clothing to express that!

In the inimitable words of John Cooper Clark, ‘There’s apparel, Jim, but not as we know it!’* and when this distinctive collection hits the stores, you’ll see exactly what he means!

  http://www.londoncollections.co.uk/ ~ http://www.topman.com/

*Excerpt from ‘TOP MAN’ by John Cooper Clark

©AFROW2014-2019 ALL RIGHTS RESERVED