True to
form Eni and I finally got around
to visiting the '20
Years of Dazed & Confused: Making It Up As We Go Along' exhibition at Somerset House on it's final day of
showing. Apologies in advance for this super duper late post. Unfortunately it’s
just how we roll.
I became an admirer of this pioneering publication during my uni
days. A barometer of underground style and subculture it was my first port of
call when I found myself lacking creativity or inspiration for one of my many many assignments. Founded in 1991 by
notable Brit portrait and fashion photographer Rankin
and custodian of cool Jefferson Hack, Dazed & Confused became
renowned for its independent approach and controversial
attitude. The exhibition, spread over five of Somerset House's more modest
rooms, celebrates the magazine as a cultural space and platform for experimentation and new talent. Walls are lined with iconic portraits and reels
of editorial layer free-standing twisted rectangular beams. An
unconventional layout befitting an unconventional magazine.
Rooms 1-3 bear the fruit of Dazed’s unique ability to produce extraordinary and original
pieces of work by bringing together prominent figures from various fields. Martina Hoogland
Ivanow’s ethereal depiction of Iggy Pop caught my eye as did some vintage semi-nude editorial snaps of Kate Moss styled by Katie Grand. Nips galore. A queue of Rankin portraits featuring music legends such as Debbie Harry, Pharrell
Williams and R.E.M’s Michael Stipe emphasise his distinctive photographic style.
Famed for its celebration of contemporary pop culture a Dazed exhibition would
not be complete without recognition of those artists whose fresh
talent contributed to the evolution of this exceptional publication. Maurizio Anzeri’s
knack for transforming photographs into canvases via eye
catching, intricately stitched designs is uber impressive as is Richard
Burbridge’s ‘Scrapheap Challenge’. A shoot that gives the term ‘disposable
fashion’ new meaning. Styled by Robbie Spencer this project transforms everyday
objects and makeshift materials to create couture pieces and inspirational looks. Primark. Do one.
The
final two courtyard spaces were dedicated to the memory of Alexander McQueen
for the ‘magical and inspiring ideas he
gifted to the pages of Dazed & Confused.’ The first is called 'Salo', a controversial
and somewhat disturbing piece of work which depicts human bodies
as animal corpses, needless to say I didn’t last long in that room. The second
was a gorgeous slideshow installation of McQueen's concept 'Fashion-Able'. Photographed by Norbert Schoerner and styled by Katy England
these images demonstrate the beauty of those with disabilities and confronts the industry's ideals.
Funnily
enough my highlight of the exhibition was in fact the corridor that connected the
various spaces. Not because I have a penchant for high ceilings and antique decorative
mouldings but because it was lined with the entire back-catalogue of Dazed’s
front covers. We cooed over Beyonce’s bad-ass styling in the ‘Pop vs Life’
issue, marvelled at how Tilda Swinton totes owns the androgynous look and LOL’d at a fresh faced Alicia Keys sporting some questionable braiding
in June 2001.
I have
to doth my cap to the curators of the exhibition, Jefferson Hack and Emma Reeves, who did a magnificent job of bringing the last 20 years of Dazed & Confused to life. It cannot
have been an easy feat with the abundance of cutting-edge material available to
them. Perfectly reflecting the magazines core ideals I left the exhibition
feeling nostalgic, inspired and excited about what we can expect from
Dazed in the future. That was until we popped into the adjoining Rizzoli book
store. The jammy Fashwah geek that is Eniola
managed to pilfer the very last copy of the book from which the exhibition was
based. Signed by none other than John ‘Rankin’
Waddle and Jefferson Hack
themselves. Then I just felt jealous. Very very
jealous.
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