1980’s Prep, French Worker Jackets, and Sexy Sweaters

ALEXANDER’S STYLE

I’ve always felt that I have a highly disproportional amount of stylish friends, most of which actually aren’t involved in fashion. It’s always been a great thing, having a reservoir of steezy people I can feature on my blog. One of my favorite personal styles, as far as friends go, has to be that of self-described prep Alexander Lavelle. I’ve featured him on the site in the past, here and here. I love his style because it’s always a pleasure to see what’s he wearing when I run into him on a daily basis. And that’s one of the true hallmarks of a stylish person.

To an extent, Alex’s style has been definitely been influenced by contemporary European menswear. Just ask the Hermès scarf in his closet. But at his root, he’s an old soul, a traditional prep. Think Brooks Brothers, Vineyard Vines, and Ralph Lauren. But you can’t forget about vintage Abercrombie & Fitch or vintage Ralph, and vintage a dozen other long-standing brands you’ve probably never heard of. Much of Alex’s closet is composed of family pieces passed down over time. For the shoot we went through his closet and combined some of his favorite heritage items for a true vintage prep feel: circa late ’80s-mid ’90s.

shirt by jos a banks, pocket square by armani collezioni

Most of the garments in this look are items handed down to Alex from his uncles and father. His blazer and trousers are late ‘80’s era prep, Anderson Little; they’re gifts from two separate uncles. His watch is a vintage Pulsar given to him from his father. It’s one of my favorite pieces in this look. If you need any reminder, refer back to the cover photo of this article. Nothing more needs to be said.

did you catch those elbow pads?

I don’t think it can be questioned though which item I dig most. As we were going through Alex’s closet to prep for the shoot, I ran across this accessory and immediately asked about it. I’m talking about his early 90’s vintage, red Ralph Lauren Polo Bear tie. It’s one of those undeniably cool items, especially since he can say that it came from his dad. This is one of the reasons why family heirlooms are so important. Heritage is the rage in menswear right now. What’s more heritage than the very items that your father and grandfather wore when they were your age? Raid your family attic, and see how much stylish, free clothing you can find. Talk to your dad about his older pieces. Back to the visuals.

the kind of ‘90’s polo bear that would make ghostface killah proud. braces are from jos a banks.

i couldn’t help but feature these vintage ray ban wayfarers passed down from alex’s dad’s high school days in the early ‘80’s

PATRICK’S STYLE

Patrick’s style is smart. Modern, flirts with preppy, and with great attention to fit and tailoring. He has a handful of thrifted items, but only one is featured in this post. It’s a gem though. (Second-hand clothing - thrifted, inherited, or otherwise — doesn’t have to be a thing of extreme habits. Your entire closet doesn’t have to be filled with thrifted goods to utilize their genius. Learn how to integrate them into your existing clothes, and discover some cool gems that’ll give you stories for when you inadvertently show them off.)

also boots by billy reid…

Patrick picked up this vintage French work jacket while in Paris. And when I say vintage, I mean it. Think 1950’s. A quality find like this is as good as one-of-a-kind. And that’s part of the appeal of thrifted/vintage pieces, the personalized feeling finds often have.

The rest of his outfit is not thrifted, but dope nonetheless.

I love the repeated color tones of Patrick’s outfit. It’s very fitting that he complements his vintage French work jacket with red, blue, and white accents on his polo collar, socks, and belt. That’s attention to detail, the kind of thing that can elevate your steeze.

polo by fred perry, belt by timberland, pants by natural selection

Patrick’s always been a master of layering. With weather like in a city like Nashville’s you can really never tell what to expect. Winter days can take you from 60 degree highs to freezing very quickly. Tips like smart layering can help anyone survive the unexpectedness of winter chills. Check out the dope black leather jacket and scarf that Patrick threw on to complement his outfit. Raisin’ the stakes, a single layer at a time.

leather jacket by orthodox, scarf by banana republic

EVAN’S STYLE 

There’s an entire Tumblr dedicated to sexy sweaters. It’s pretty cool and has some interesting designs on it, which is great. Internet sweaters are cool and all, but no lifestyle change has brought me across more sexy sweaters than my increased exposure with thrifted and vintage goods. There’s a thrift store in Nashville’s Hillsboro Village (that is sadly going out of business) that always would keep a rack full of sexy sweaters. The sweater Evan wore for the downtown shoot would have fit nicely on the rack.

sweater by impact

Evan’s style is simple and classic. Not very over the top (aside from his sweater arsenal haha) or complicated. It’s very everyday and natural. But he pays enough attention to the basic rules, as well as overall fit to pull off his looks nicely. And as a college student, he also saves a fortune on a collection of sweaters that would make Coogi and Dr. Huxtable jealous.

Personal style doesn’t have to be ostentatious. I played soccer for 10 years growing up. And one pair of shoes that looks just as good on the indoor soccer court as it does on the streets of Pitti Uomo is the Adidas Samba. Sambas are as classic as they get, almost no-brainer stylish. I thought they were dope when I was 8 years old running around scoring goals. Not much has changed about my opinion.

jean by bullhead

Look at those stripes. That’s widespread appeal.

Libertine-Libertine’s 2011 Fall/Winter Inseam Loobook  Fashion’s existentialist darling, Copenhagen’s Libertine-Libertine recently released their 2011 Fall/Winter Inseam Lookbook. It’s an impressive collection of tailored winter fabrics and rich color against a backdrop of blue walls and black skin. Black skin is featured pretty prominently actually. It serves as an integral feature of the entire lookbook. Libertine-Libertine built a collection of outfits composed of color combinations traditionally known to complement black skin. To go along with it, they installed a blue backdrop to supplement the nicely photographed dark-skinned model hired to sport the looks. The result is pretty beautiful. An impressively composed collection of textures and colors all meant to play off one another.Why Libertine-Libertine chose the route of creating a collection finely composed to complement skin of a certain tone is uncertain. Whether their existentialist sympathizing has anything to do with it is pending as well. (Though Liam Gaws may have some insight on the topic).Fashion used to be filled with a certain hesitation towards accommodating models of color, but in 2011 only the most exclusive European fashion houses reserve this view. But what does it say about fashion that in 2011 it’s possible for an existentialist fashion brand to market a lookbook revolving around the idea of dark skin? I’m not sure. That’s why I’m asking.Each Libertine-Libertine look features cutout details of the particular look. Each detail aims at combining skin and fabric in a way that forms an holistic union. It’s a pretty brilliant lookbook in my opinion. Aside from the smart approach to a lookbook, the actual clothes are stylishly, practical, wearable outfits, and the lookbook is nicely shot.On Libertine-Libertine’s site are blown-up versions of the looks plus extras. Here massive details of black skin donning quality fabrics are featured in all their glory. Libertine-Libertine has created avant-garde lookbooks in the past, so it’s not necessarily surprising that they recently dropped this collection. What the entire collection mounts up to is an impressive display of fashion and racial commentary; another piece in the steadily growing modern cultural conversation.
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Libertine-Libertine’s 2011 Fall/Winter Inseam Loobook

 
Fashion’s existentialist darling, Copenhagen’s Libertine-Libertine recently released their 2011 Fall/Winter Inseam Lookbook. It’s an impressive collection of tailored winter fabrics and rich color against a backdrop of blue walls and black skin. Black skin is featured pretty prominently actually. It serves as an integral feature of the entire lookbook.
 

Libertine-Libertine built a collection of outfits composed of color combinations traditionally known to complement black skin. To go along with it, they installed a blue backdrop to supplement the nicely photographed dark-skinned model hired to sport the looks. The result is pretty beautiful. An impressively composed collection of textures and colors all meant to play off one another.

Why Libertine-Libertine chose the route of creating a collection finely composed to complement skin of a certain tone is uncertain. Whether their existentialist sympathizing has anything to do with it is pending as well. (Though Liam Gaws may have some insight on the topic).

Fashion used to be filled with a certain hesitation towards accommodating models of color, but in 2011 only the most exclusive European fashion houses reserve this view. But what does it say about fashion that in 2011 it’s possible for an existentialist fashion brand to market a lookbook revolving around the idea of dark skin? I’m not sure. That’s why I’m asking.

Each Libertine-Libertine look features cutout details of the particular look. Each detail aims at combining skin and fabric in a way that forms an holistic union. It’s a pretty brilliant lookbook in my opinion. Aside from the smart approach to a lookbook, the actual clothes are stylishly, practical, wearable outfits, and the lookbook is nicely shot.


On Libertine-Libertine’s site are blown-up versions of the looks plus extras. Here massive details of black skin donning quality fabrics are featured in all their glory. Libertine-Libertine has created avant-garde lookbooks in the past, so it’s not necessarily surprising that they recently dropped this collection. What the entire collection mounts up to is an impressive display of fashion and racial commentary; another piece in the steadily growing modern cultural conversation.


Kanye West Debuts DW @ Paris Fashion Week The Wu-Tang Clan may have been one of the first hip hip brands to dabble in the fashion industry, but in today’s day and age we take for granted the phenomenon of the celebrity (rapper, actor, singer) turned fashion designer. It’s the prevalence of the celebrity world’s Rocawears, Sean Johns, and Jennifer Lopez x Macy’s collaborations that make it difficult for anybody who made their millions and earned their acclamations in any field other than fashion to crossover into the industry. But in every sense, Kanye West’s involvement in fashion seems radically different than the way we traditionally are used to seeing celebrities approach the fashion industry. From the start of his career, Kanye has always been an individual whose sartorial inclinations were instrumental in defining his public image. He helped turned hip hop away from baggy jerseys and ill-fitted velour track suits. With his last two albums he’s invented a new sub-genre of hip hop, luxury rap. And of late his favorite rhyming topics have been as much Phoebe Philo and Maison Margiela as anything else. It was within the context of this well-known, decade-long love obsession with fashion that Kanye West debuted his first collection at Paris Fashion Week, this past Saturday. The unique thing about Kanye West’s fashion debut is this: despite the fact that this is his first collection ever, he is still Kanye West. As a result, his debuted his collection at the Lycee Henri IV, an expensive looking Parisian secondary school. And in attendance were Anna Wintour, Terry Richardson, Silvia and Delfina Fendi, Jeremy Scott, and other important sounding fashion heavyweights you may or may not have heard of. All this, despite the fact, that he wasn’t even on the official PFW schedule. So how did he do? His Collection Unsurprisingly, different parts of West’s debut collection are reminiscent of past shows by Alexander Wang, Rick Owens, and Celine. The first thing apparent in West’s collection is the high level of workmanship in the pieces he managed to assemble in three days. West consulted Kim Jones and Louise Wilson for the collection, among others. So there’s no surprise in the quality of couture in his collection. DW’s debut collection is an intriguing mix of asymmetrical cuts, expensive fabrics, and unique Yeezyisms. Holistically, the collection seems right at home among the other PFW shows. Still though, Kanye managed to incorporate little quirks into his show that were purely Yeezy. One of the last looks in his collection was an all-black ensemble with a hood that was strikingly similar to the Bathing Ape shark hoodies ‘Ye had been known to rock in the past. On top of that, Yeezy had all of his models wear a gold “Yeezi” necklace. (The only real prerequisite for modeling in his show was previously being mentioned in Christian Dior Denim Flow.) Industry/Media Reaction In many ways Kanye was doomed to most of the negative criticism he’s received, even before his collection debuted. It’s a recurring theme in a professional career that has been filled with unexpected industry moves and new mediums. The producer-turned-rapper-turned-designer faced the same animosity he faced when he first tried to prove himself as more than a producer-rapper. The same occurred when he turned to singing on 808’s and Heartbreak. Now Mr. West is facing the uphill battle of proving he is more than just a hip hop designer. Most of the detraction West has gotten so far is nothing more than the fashion industry’s exclusive souls being wary of any outsider, celebrity designer trying to break into their world. There’s been a certain “stick to your day job” sentiment from pockets of fashion’s elite concerning DW’s debut. Lisa Armstrong of The Daily Telegraph regarded Kanye’s collection as a “”stupendously vacuous enterprise.” And Gawker did their best to dismiss Kanye’s debut as disastrous, despite collected quotes not incendiary enough to support their thesis. Strangely enough, most online articles have given fairly objective, honest critiques of Kanye’s debut. WWD said: neither triumph nor train wreck… It had the earnest veneer of a beginner, which was sort of endearing.” The New York Times said: “There was one good-looking pair of color-blocked pants in blue and coral, but it was obvious that most of the clothes suffered from a poor fit.” These articles are both hypercritical, yet much more honest in their approach. The New York Times was even sure to explain that the ill-fitting pieces may have been the result of rushed fittings (CDDF favorite Chanel Iman was flown in by telephone the day before). Retrospect So after the fact, what does this show mean for Kanye West’s fashion ambitions? It’s too early to tell; there are enough signs to suggest either of two possible endings. Clearly Kanye already has some traction and respect in the fashion industry. He does have a major fashion house internship under his belt, not to mention uncountable appearances at all the major fashion weeks, and friendships with some of the most important figures in the industry. And his clothes did show real promise. Despite the fact that much of his collection was directly translated looks of the designers he most idolizes, and the fact that he featured conspicuous amounts of fur and leather in a spring/summer collection, Kanye has the makings of a real designer. The intense passion for designing is clearly there, as is the patience to sacrifice the time required. And Kanye clearly has an eye for fashion design. A few times when the fit and material weren’t distracting from the look, Kanye managed to display an impressive command of couture and creative design. West has the tools necessary of a designer, as long as he’s willing to be patient about the artistic and professional growth that may take longer than anticipated. At this point in his career, Kanye’s done literally everything he’s publicly proclaimed it his goal to do, suggesting that it’d be potentially wise to not bet against him here. Only time will tell though. For now, he knows his only hope of establishing himself in fashion may come through escaping the walls built by the “black American, hip hop rapper turned celebrity-designer” label that has been placed on him by some of the industry’s finest.
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Kanye West Debuts DW @ Paris Fashion Week

The Wu-Tang Clan may have been one of the first hip hip brands to dabble in the fashion industry, but in today’s day and age we take for granted the phenomenon of the celebrity (rapper, actor, singer) turned fashion designer. It’s the prevalence of the celebrity world’s Rocawears, Sean Johns, and Jennifer Lopez x Macy’s collaborations that make it difficult for anybody who made their millions and earned their acclamations in any field other than fashion to crossover into the industry.

But in every sense, Kanye West’s involvement in fashion seems radically different than the way we traditionally are used to seeing celebrities approach the fashion industry. From the start of his career, Kanye has always been an individual whose sartorial inclinations were instrumental in defining his public image. He helped turned hip hop away from baggy jerseys and ill-fitted velour track suits. With his last two albums he’s invented a new sub-genre of hip hop, luxury rap. And of late his favorite rhyming topics have been as much Phoebe Philo and Maison Margiela as anything else. It was within the context of this well-known, decade-long love obsession with fashion that Kanye West debuted his first collection at Paris Fashion Week, this past Saturday.

The unique thing about Kanye West’s fashion debut is this: despite the fact that this is his first collection ever, he is still Kanye West. As a result, his debuted his collection at the Lycee Henri IV, an expensive looking Parisian secondary school. And in attendance were Anna Wintour, Terry Richardson, Silvia and Delfina Fendi, Jeremy Scott, and other important sounding fashion heavyweights you may or may not have heard of. All this, despite the fact, that he wasn’t even on the official PFW schedule. So how did he do?

His Collection

Unsurprisingly, different parts of West’s debut collection are reminiscent of past shows by Alexander Wang, Rick Owens, and Celine. The first thing apparent in West’s collection is the high level of workmanship in the pieces he managed to assemble in three days. West consulted Kim Jones and Louise Wilson for the collection, among others. So there’s no surprise in the quality of couture in his collection.

DW’s debut collection is an intriguing mix of asymmetrical cuts, expensive fabrics, and unique Yeezyisms. Holistically, the collection seems right at home among the other PFW shows. Still though, Kanye managed to incorporate little quirks into his show that were purely Yeezy.

One of the last looks in his collection was an all-black ensemble with a hood that was strikingly similar to the Bathing Ape shark hoodies ‘Ye had been known to rock in the past. On top of that, Yeezy had all of his models wear a gold “Yeezi” necklace. (The only real prerequisite for modeling in his show was previously being mentioned in Christian Dior Denim Flow.)

Industry/Media Reaction

In many ways Kanye was doomed to most of the negative criticism he’s received, even before his collection debuted. It’s a recurring theme in a professional career that has been filled with unexpected industry moves and new mediums. The producer-turned-rapper-turned-designer faced the same animosity he faced when he first tried to prove himself as more than a producer-rapper. The same occurred when he turned to singing on 808’s and Heartbreak. Now Mr. West is facing the uphill battle of proving he is more than just a hip hop designer.

Most of the detraction West has gotten so far is nothing more than the fashion industry’s exclusive souls being wary of any outsider, celebrity designer trying to break into their world. There’s been a certain “stick to your day job” sentiment from pockets of fashion’s elite concerning DW’s debut. Lisa Armstrong of The Daily Telegraph regarded Kanye’s collection as a “”stupendously vacuous enterprise.” And Gawker did their best to dismiss Kanye’s debut as disastrous, despite collected quotes not incendiary enough to support their thesis.

Strangely enough, most online articles have given fairly objective, honest critiques of Kanye’s debut.

WWD said:

neither triumph nor train wreck… It had the earnest veneer of a beginner, which was sort of endearing.”

The New York Times said:

“There was one good-looking pair of color-blocked pants in blue and coral, but it was obvious that most of the clothes suffered from a poor fit.”

These articles are both hypercritical, yet much more honest in their approach. The New York Times was even sure to explain that the ill-fitting pieces may have been the result of rushed fittings (CDDF favorite Chanel Iman was flown in by telephone the day before).

Retrospect

So after the fact, what does this show mean for Kanye West’s fashion ambitions? It’s too early to tell; there are enough signs to suggest either of two possible endings. Clearly Kanye already has some traction and respect in the fashion industry. He does have a major fashion house internship under his belt, not to mention uncountable appearances at all the major fashion weeks, and friendships with some of the most important figures in the industry. And his clothes did show real promise. Despite the fact that much of his collection was directly translated looks of the designers he most idolizes, and the fact that he featured conspicuous amounts of fur and leather in a spring/summer collection, Kanye has the makings of a real designer. The intense passion for designing is clearly there, as is the patience to sacrifice the time required.

And Kanye clearly has an eye for fashion design. A few times when the fit and material weren’t distracting from the look, Kanye managed to display an impressive command of couture and creative design.

West has the tools necessary of a designer, as long as he’s willing to be patient about the artistic and professional growth that may take longer than anticipated. At this point in his career, Kanye’s done literally everything he’s publicly proclaimed it his goal to do, suggesting that it’d be potentially wise to not bet against him here.

Only time will tell though. For now, he knows his only hope of establishing himself in fashion may come through escaping the walls built by the “black American, hip hop rapper turned celebrity-designer” label that has been placed on him by some of the industry’s finest.

The Modern State of Street Style New York Fashion Week begins today. In anticipation of this fall’s fashion week, GQ published an article yesterday in which they try to anticipate the style innovations we’ll be seeing on the streets this week. Of course, the entire article is a satire. Illustrations of seemingly unaware individuals casually talking on the phone or walking to the coffee shop in their ankle bandannas and ties that double as pocket squares. It’s a rather fed-up and frustrated look at the current state of street style menswear. GQ is apparently well tired with what they’re seeing. Just last month they published a similar piece with similar sentiments. “Street style is no longer organic. Nowadays people flood the streets outside fashion week shows waiting to get photographed.” honestly, gq keeps taking shots at ankle bandannas, but i don’t think they’re impossible to pull off. just not very easy. In all reality, exactly how true is that statement? It’s doubtless that people lurk outside fashion shows “casually” eying Tommy Ton, inviting a photograph. But is it true to say that street style is no longer organic? Was it ever so? When Bill Cunningham first started photographing New York’s most stylish in the 1970s, there really was no such thing as street style. But it didn’t take long for Cunningham to become known as the “street style photographer,” and it didn’t take long before people started dressing for him. Even Anna Wintour admits to it. Fast forward to 2005. Scott Schumann, inspired by Cunningham, starts a blog called The Sartorialist that looks to do what Cunningham had been doing for decades. The only difference is that the goal is photographing everyday people. With the increased accessibility of the internet came the increased popularity of blogging, and soon after Schumann helps spawn countless new blogs started by would be street photographers. bill cunningham, in the same blue jacket and bike he’s owned for the last 40 years This was the “mini-revolution” GQ was talking about. That span of three or so years where street style actually felt organic. Actually was organic. But alas. With accessibility comes over-saturation. With over-saturation comes redundancy. With redundancy comes people trying to hard. And with people trying to hard comes GQ publishing articles venting about their frustrations. It’s sad really. It’s sad to think that street style is, in theory, about capturing people in their natural habitat. About portraying some sort of unplanned, sincere moment. If that’s the case, how did it come to this? The answer is that it didn’t come to this. This is the way it’s always been. Aside from those few years after Bill Cunningham first started capturing people on the street, and the few years of glorious sincerity that we seem to be on the tail end of, street style is always been fairly contrived and fairly exclusive. It’s sad to say it. But the most sad part of it all is that it’s true. So don’t ask how it came to this. You’d only be lying to yourself. *Note: Despite their frustrations with the state of street style menswear, GQ has by no means pledged to do anything to help solve the problem of over-saturation in the game. As a matter of fact, earlier today they published their first collection of shots from NYFW. There are presumed to be no shots of outrageously dressed individuals.
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The Modern State of Street Style

New York Fashion Week begins today. In anticipation of this fall’s fashion week, GQ published an article yesterday in which they try to anticipate the style innovations we’ll be seeing on the streets this week. Of course, the entire article is a satire. Illustrations of seemingly unaware individuals casually talking on the phone or walking to the coffee shop in their ankle bandannas and ties that double as pocket squares. It’s a rather fed-up and frustrated look at the current state of street style menswear. GQ is apparently well tired with what they’re seeing. Just last month they published a similar piece with similar sentiments. “Street style is no longer organic. Nowadays people flood the streets outside fashion week shows waiting to get photographed.”

honestly, gq keeps taking shots at ankle bandannas, but i don’t think they’re impossible to pull off. just not very easy.

In all reality, exactly how true is that statement? It’s doubtless that people lurk outside fashion shows “casually” eying Tommy Ton, inviting a photograph. But is it true to say that street style is no longer organic? Was it ever so? When Bill Cunningham first started photographing New York’s most stylish in the 1970s, there really was no such thing as street style. But it didn’t take long for Cunningham to become known as the “street style photographer,” and it didn’t take long before people started dressing for him. Even Anna Wintour admits to it.

Fast forward to 2005. Scott Schumann, inspired by Cunningham, starts a blog called The Sartorialist that looks to do what Cunningham had been doing for decades. The only difference is that the goal is photographing everyday people. With the increased accessibility of the internet came the increased popularity of blogging, and soon after Schumann helps spawn countless new blogs started by would be street photographers.

bill cunningham, in the same blue jacket and bike he’s owned for the last 40 years

This was the “mini-revolution” GQ was talking about. That span of three or so years where street style actually felt organic. Actually was organic. But alas. With accessibility comes over-saturation. With over-saturation comes redundancy. With redundancy comes people trying to hard. And with people trying to hard comes GQ publishing articles venting about their frustrations.

It’s sad really. It’s sad to think that street style is, in theory, about capturing people in their natural habitat. About portraying some sort of unplanned, sincere moment. If that’s the case, how did it come to this?

The answer is that it didn’t come to this. This is the way it’s always been. Aside from those few years after Bill Cunningham first started capturing people on the street, and the few years of glorious sincerity that we seem to be on the tail end of, street style is always been fairly contrived and fairly exclusive.

It’s sad to say it. But the most sad part of it all is that it’s true.

So don’t ask how it came to this. You’d only be lying to yourself.

*Note: Despite their frustrations with the state of street style menswear, GQ has by no means pledged to do anything to help solve the problem of over-saturation in the game. As a matter of fact, earlier today they published their first collection of shots from NYFW. There are presumed to be no shots of outrageously dressed individuals.

Jean-Michel Basquiat’s Hair Legacy Jean-Michel Basquiat had a professional career that lasted just nine years. Yet during that time he managed to make himself one of the most significant painters of the 20th century and an ever-enduring cultural icon. In many ways Basquiat was the ultimate enigma. The first black artist to ever be internationally acclaimed. Completely unschooled and non-traditional in his approach to art. Yet he was the epitome of cool. A confident and nonchalant aura. An eccentric wardrobe. And of course, his hair. Basquiat’s hair went through many different stages throughout his professional career. But aside from the time he spent as Samo (immediately upon moving to New York), all of his hairstyles follow more or less the same silhouette: the faux dreadlock that somehow suspends itself straight up in the air. basquiat as samo in 1980 It’s amazing to me that 23 years after his death, Basquiat is as culturally salient as he is now. Both his art and his fashion sense. He is undoubtedly a cultural icon, but in many ways Basquiat is also a style icon. After all, he is the guy that painted in Armani suits. The one area where Basquiat’s aesthetic seems to be shaping the contemporary fashion scene the most is in the grooming choices of the country’s most artsy urban African American males. Take a look around you. Peer at the domes of some of the most recognizable young men in today’s street style scene. Joshua Kissi of Street Etiquette. Jean Lebrun and Eaddy from the Jersey Street Klan. Kadeem Johnson of KJohnlaSoul. That steezy model from Très Bien whose name always escapes me. And those are just the dudes we all know about. It’s no coincidence that some of today’s most artsy black males are referencing a haircut very similar to the one Jean-Michel Basquiat sported for so many years. jean lebrun and kadeem johnson (from the aveder outfit) It makes so much sense. Basquiat was thoroughly urban (from New York, as many of the folks I mentioned are). In no way was he part of the art establishment. He invaded it. Grassroots everything. The first black artist to ever be accepted by the fine art community. And he didn’t have to sell his soul to do it. He remained completely himself. The same grafitti-driven, break-dancing, and hip hop fiend he’d always been. The fashion of the aughts (the 2000’s) has been very 1980’s reference heavy. It’s understandable that many of today’s art focused African-American men would be influenced by the one figure from the 1980’s art world that was most relatable. joshua kissi of street etiquette Do you see the patterns I’m referring to here? All the names I’ve mentioned are afrocentric individuals. Jean-Michel Basquiat, with his influence on urban culture, afrocentric thought, and hip hop/grafitti, set the culture that the Native Tongues would inherit. He conveniently died in 1988 right as the Native Tongues’ most prominent group, A Tribe Called Quest, debuted in hip hop. Q-Tip says in his Post-Tribe solo work, “Don’t you ever forget who put the pep in your step. We made it cool to wear medallions and say hotep.” In other words, A Tribe Called Quest and the rest of the Native Tongues (De la Soul, Jungle Brothers, Common, Mos Def, etc) brought afrocentric thought into the urban mainstream. But of course none of that would have been possible without Basquiat’s prior influence. très bien’s proprietor of steeze Of course, whether or not any of these individuals are aware that they’re referencing Basquiat in their aesthetic choices isn’t quite as important. The most important point is that they are influenced by the sartorial and grooming values of the society they currently live in. A society that was indelibly shaped by Basquiat. I’m sure probably all of them know who Basquiat is and probably many of them were consciously alluding to him in their grooming aesthetic. But as I just said, that fact isn’t quite as important. michael dos santos of an educated guess In reality, this post isn’t really about Jean-Michel Basquiat hair. It’s rather a testament to how large of an influence he’s had on both the art and urban world. His signature permeates so many things now. The domes of some of our culture’s most notable men is merely a testament to how big Basquiat still is.
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Jean-Michel Basquiat’s Hair Legacy

Jean-Michel Basquiat had a professional career that lasted just nine years. Yet during that time he managed to make himself one of the most significant painters of the 20th century and an ever-enduring cultural icon. In many ways Basquiat was the ultimate enigma. The first black artist to ever be internationally acclaimed. Completely unschooled and non-traditional in his approach to art.

Yet he was the epitome of cool. A confident and nonchalant aura. An eccentric wardrobe. And of course, his hair. Basquiat’s hair went through many different stages throughout his professional career. But aside from the time he spent as Samo (immediately upon moving to New York), all of his hairstyles follow more or less the same silhouette: the faux dreadlock that somehow suspends itself straight up in the air.

basquiat as samo in 1980

It’s amazing to me that 23 years after his death, Basquiat is as culturally salient as he is now. Both his art and his fashion sense. He is undoubtedly a cultural icon, but in many ways Basquiat is also a style icon. After all, he is the guy that painted in Armani suits. The one area where Basquiat’s aesthetic seems to be shaping the contemporary fashion scene the most is in the grooming choices of the country’s most artsy urban African American males.

Take a look around you. Peer at the domes of some of the most recognizable young men in today’s street style scene. Joshua Kissi of Street Etiquette. Jean Lebrun and Eaddy from the Jersey Street Klan. Kadeem Johnson of KJohnlaSoul. That steezy model from Très Bien whose name always escapes me. And those are just the dudes we all know about. It’s no coincidence that some of today’s most artsy black males are referencing a haircut very similar to the one Jean-Michel Basquiat sported for so many years.

jean lebrun and kadeem johnson (from the aveder outfit)

It makes so much sense. Basquiat was thoroughly urban (from New York, as many of the folks I mentioned are). In no way was he part of the art establishment. He invaded it. Grassroots everything. The first black artist to ever be accepted by the fine art community. And he didn’t have to sell his soul to do it. He remained completely himself. The same grafitti-driven, break-dancing, and hip hop fiend he’d always been. The fashion of the aughts (the 2000’s) has been very 1980’s reference heavy. It’s understandable that many of today’s art focused African-American men would be influenced by the one figure from the 1980’s art world that was most relatable.


joshua kissi of street etiquette

Do you see the patterns I’m referring to here? All the names I’ve mentioned are afrocentric individuals. Jean-Michel Basquiat, with his influence on urban culture, afrocentric thought, and hip hop/grafitti, set the culture that the Native Tongues would inherit. He conveniently died in 1988 right as the Native Tongues’ most prominent group, A Tribe Called Quest, debuted in hip hop. Q-Tip says in his Post-Tribe solo work, “Don’t you ever forget who put the pep in your step. We made it cool to wear medallions and say hotep.” In other words, A Tribe Called Quest and the rest of the Native Tongues (De la Soul, Jungle Brothers, Common, Mos Def, etc) brought afrocentric thought into the urban mainstream. But of course none of that would have been possible without Basquiat’s prior influence.

très bien’s proprietor of steeze

Of course, whether or not any of these individuals are aware that they’re referencing Basquiat in their aesthetic choices isn’t quite as important. The most important point is that they are influenced by the sartorial and grooming values of the society they currently live in. A society that was indelibly shaped by Basquiat. I’m sure probably all of them know who Basquiat is and probably many of them were consciously alluding to him in their grooming aesthetic. But as I just said, that fact isn’t quite as important.

michael dos santos of an educated guess

In reality, this post isn’t really about Jean-Michel Basquiat hair. It’s rather a testament to how large of an influence he’s had on both the art and urban world. His signature permeates so many things now. The domes of some of our culture’s most notable men is merely a testament to how big Basquiat still is.

Style Profile: Hannah Kim

I do believe I’m growing an obsession with flare pants. Perhaps it’s all the All the Pretty Birds that I’ve been reading, but there’s just something so elegant and feminine about them. As brilliant as flare pants are, it’s amazing you don’t see women rocking them in the streets more often. Although the reason more though for me to stop Hannah for an impromptu photo shoot when I saw her wearing these teal or turquoise (or whatever color these are) flare jeans.

There’s no better way to elongate a female figure than a pair of flare pants. Bonus points if they’re high-waisted. Hannah’s aren’t. But the striking color is more than enough to give off a feminine air of sophistication, elegance, and carefree-ness. The perfect attitude for the summer months. Ah the youth!

But the real brilliance is in the amazing way she accessories. A wise man once said that accessories are a necessity. (A quick Google search will show that said man has said this on several occasions, but you do emphasize important things right?)

Her accessories serve as a great complement for her flare jeans, tying the entire outfit together. The consistent gold-colored theme of her jewelry works great with her skin, as well as with her top. The watch, the necklace, the rings. Even her purse has gold-colored patterning on it. It’s this kind of thoughtfulness and attention to detail that can really make an outfit. I must say, out of all of her accessories, my favorites are the deer head necklace and the ring from Gorjana. It’s just not often you see pieces like those.

Overall, this is a pretty great outfit for summer frolicking. There’s a lot of tips to be taken from this for anyone looking to find the perfect look for this summer. Bright and complementary colors, smart use of accessories, and a general youthful exuberance will rule the day.

Cheers!

*I know that content has been slow as of late around these parts. Thanks for bearing with me guys, and hello to all my new followers. You’re all greatly appreciated.

As promised a few weeks ago, I present to you: Michael Yarbrough, one of the funniest people I know.

the infamous michael yarbrough smirk

It’s not often you meet a guy who simply embodies effortless cool, whose every move is unbelievably suave and silky. Michael is not one of those guys. He’s a huge nerd, in fact. But Michael embodies something just as valuable as effortless cool. He exudes a certain quirky charm and wise wit that will leave you in a permanent half-smile if you spend more than a minute around him.

michael points

michael’s color palette complements life

When I look back at these visuals of Michael that I captured a few weeks ago, I sort of marvel. I hadn’t planned on shooting Yarbrough that day. I actually just ran into him while I was meeting up with another friend. Amazingly though, everything about Michael’s look just clicked. He just happened to be carrying a yellow mug that perfectly complemented the grass and his cool sweater and jeans. I suppose the stars just aligned. It was one of those moments where while you’re snapping away, you’re aware that everything you’re capturing is pure gold. It’s a cool thing to be cool with a guy whose color palette complements life.

classic blue sweater, blue belt, blue jeans

coffee mug and belt

When I complimented Yarbrough on looking particularly steezy that day, he bemoaned that I had caught him on a bad day. According to him, he just sort of rolled out of bed.

michael’s sneakers; he does gardening in these

As proof for his claim of “not trying” that day, he pointed to his jeans and sneakers, proclaiming “I do gardening in these!”

“Sure,” I replied. “Whatever you say, Michael. Whatever you say.”

The Art of Sketching I’ve always been captivated by sketches. Before I found photography and filmmaking, I used to draw more than anything else. Because of my impatient nature, I never could make myself draw clean and elaborate works that took much time. I naturally gravitated towards sketches, finding something romantic in the untamed lines, impromptu nature, and organic character of it. I was never anything extraordinary, and even my sketches took much longer than they logically should have. (Thank God I found photography). I still hold a deep respect for drawing though, especially sketches and the people that create them. Mr Porter recently did a story on Richard Haines, the fashion illustrator behind the blog What I Saw Today, which has become a sort of illustrative equivalent to The Sartorialist. For good reason too; the blog is a captivating one. There is something quite human about sketches, and Haines does a thorough job of invoking this. “frenchman wearing quilted, wine colored, velvet slipper” and “aubin checks his texts”; from what i saw today mr haines at rest. mr haines at work. from mr porter. I recently came across another blog dedicated to sketches and illustrations. The Boston Sketcher is a site run by M. Morris Gaman, an art student in Boston that is, as he puts it, “drawing quick sketches of people in Boston all the time. On the train, in class, in coffee shops, museums, malls, libraries and even on the street.” The blog is fun, witty, and intimate one. Gaman updates multiple times a day with sincere sketches punctuated with his commentary. l to r, top to bottom: “pen and ink…on the red line”, “he looks like he has good taste in music”, and “the apple that falls”; from faces of boston. On the subject of commentary: I’ve realized that one of my favorite things about these two blogs is the commentary that often accompanies their sketches. They “add to the story”, so to speak, of the image presented. After all, a sketch is mere representation of an experience. It’s a reaction to the moment. Often I wonder what was going through the illustrator’s head when I look at sketches, why they chose to highlight the elements they did. It’s great to see their thoughts presented in another way. It seems that much of the sentiment surrounding sketches, especially those of this nature, are the same as the sentiments surrounding street photography, specifically street style photography. I’m an avid people watcher. Hand me a camera and it’s only logical that I’ll stick it in front of my face and take pictures of them. It’s the same with this. I can only imagine the process: going everywhere with your sketchbook, always looking around and observing. It’s a beautiful thing, truly.
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The Art of Sketching

I’ve always been captivated by sketches. Before I found photography and filmmaking, I used to draw more than anything else. Because of my impatient nature, I never could make myself draw clean and elaborate works that took much time. I naturally gravitated towards sketches, finding something romantic in the untamed lines, impromptu nature, and organic character of it. I was never anything extraordinary, and even my sketches took much longer than they logically should have. (Thank God I found photography). I still hold a deep respect for drawing though, especially sketches and the people that create them.

Mr Porter recently did a story on Richard Haines, the fashion illustrator behind the blog What I Saw Today, which has become a sort of illustrative equivalent to The Sartorialist. For good reason too; the blog is a captivating one. There is something quite human about sketches, and Haines does a thorough job of invoking this.

“frenchman wearing quilted, wine colored, velvet slipper” and “aubin checks his texts”; from what i saw today

mr haines at rest. mr haines at work. from mr porter.

I recently came across another blog dedicated to sketches and illustrations. The Boston Sketcher is a site run by M. Morris Gaman, an art student in Boston that is, as he puts it, “drawing quick sketches of people in Boston all the time. On the train, in class, in coffee shops, museums, malls, libraries and even on the street.” The blog is fun, witty, and intimate one. Gaman updates multiple times a day with sincere sketches punctuated with his commentary.

l to r, top to bottom: “pen and ink…on the red line”, “he looks like he has good taste in music”, and “the apple that falls”; from faces of boston.

On the subject of commentary: I’ve realized that one of my favorite things about these two blogs is the commentary that often accompanies their sketches. They “add to the story”, so to speak, of the image presented. After all, a sketch is mere representation of an experience. It’s a reaction to the moment. Often I wonder what was going through the illustrator’s head when I look at sketches, why they chose to highlight the elements they did. It’s great to see their thoughts presented in another way.

It seems that much of the sentiment surrounding sketches, especially those of this nature, are the same as the sentiments surrounding street photography, specifically street style photography. I’m an avid people watcher. Hand me a camera and it’s only logical that I’ll stick it in front of my face and take pictures of them. It’s the same with this. I can only imagine the process: going everywhere with your sketchbook, always looking around and observing. It’s a beautiful thing, truly.

What I’ve Been Working on Lately

It’s been exactly a week since I last posted any content. I know, I’ve been counting the days too haha. I’m 99% certain that this is the longest hiatus in TheCreativeRoutine’s history, and I must say…I have felt guilty for neglecting my duties as of late. But no worries, I shall make it up to you guys. After all, I haven’t just been sitting around and learning the fundamentals of cooking from Lil’ B this entire time. I’ve been chilling with my homegirl Rebecca Black too.

In all seriousness though, in the little free time that school has allotted me, I’ve been keeping myself busy. I recently completed a short film and am currently in the intense process of editing another. (Picture long nights of isolation in the studio with A Tribe Called Quest, Gil Scott-Heron, and other hip hop classics on continuous repeat). Yeah that’s been my life these past few days haha. It’ll all be worth it in the end though.

The above photos are an amalgamation of a few shoots I recently had, film stills from my recently completed short film, and stills from the one I’m currently working on. I won’t reveal anymore. It’ll be worth the wait, trust me.

Last but not least, I’d like to say hello to all my followers: the ones that have been with me for quite some time now and all of the new ones I’ve obtained in my seven day absence (I’ve actually gained an unusual amount of followers this past week. Where did you all come from? lol Perhaps I should just stop posting all together, and see if the rate of growth continues). Exciting times are ahead! I’m glad you’ve joined me for the journey.

Cheers!