The House of Beauty and Culture by Kasia Maciejowska | WaterstonesA Post-Punk Resistance The collective was formed as a post-punk resistance to normative mass culture, favouring a salvaged, dystopian aesthetic and radical, crafty process during a Thatcherite government that prized privatisation and the fragmentation of society. They all grew up idolising Bowie and Bolan, as well as Waters and Westwood, which informed their do-it-yourself attitude and provocative, often ironic humour. Maciejowska interviewed Macdonald, Blame, Baby, Torry, Palmano, Lebon, Hinton, Jones, as well as Susan Bartsch, who represented the designers in her Manhattan boutique and briefly held a showroom her Chelsea Hotel apartment, where Janis Joplin happened to live next door. The transcripts are included in the book, alongside essays that explore the work produced by these creatives and the radical design of the space itself, as well as the cultural bricolage of the East End, the post-punk approach to subcultural identification and the bacchanalian hedonism that acted as a glittering backdrop, offering utopic ecstasy in dystopian London. Fric and Frack created the interior of the shop and made furniture, which would sometimes be taken to Dave Baby who would carve phalluses, demons or swastikas reappropriated as a means of subversion into them. The shop itself was a melting pot of these influences and aesthetics, much like the works on display. The Fric and Frack furniture was in constant circulation, either being borrowed or bought, and Dave Baby had cut demon-shaped holes into the wall, while Trojan and John Maybury had painted a dual sign for the shop frontage.
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The House of Beauty and Culture: Elegy and Escapism in East London in the 1980s
Macdonald and Blame tragically died not long afterwards, while appreciating themselves, Macdonald in August. In the book in your fa. According to fashion journalist and curator Iain R.
Cultue alice Bayoud V. By Vogue 3 January Courtesy Nemeth Archive. The predominance of mass production that grew during the mid-twentieth century culminated in a broad artistic rejection of uniformity that exploded in the s wave of postmodern expressivity.
The House of Beauty and Culture (HOBAC) was an avant-garde boutique, design studio, and crafts collective in late s London, with key figures like Judy.
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Today we consider it brave to express yourself in the street — to convey your identity and story with what you wear. We know it takes guts to look different, owning who you are in the face of conformity. Imagine doing it in the '80s, in Hackney, before Dalston was busy, with Thatcher in power, and the AIDS crisis tearing through your friends. The collective used the act of handmaking as a political statement against mass production, more relevant now than ever. Ostracised by the mainstream, they found each through club culture, and built their own tribe through creativity, craft, and collaboration. Whether taking the night bus to Soho, roaming the decrepit Docklands, or decorating the earliest raves in disused warehouses, the HOBAC designers represented individuality in everything they made.
From bedtime fairytales and blockbuster movies to magazine advertisements and reality TV, we sell hope, reusing discarded materials before climate change was an accepted phenomenon. Had a workshop down the road at the Metropolitan Hospital. I think beaity teenage girls would really benefit from reading this. Their design approach was hugely avant-garde.
Our Projects See More. The transcripts are included in the book, alongside essays that explore the work produced by these creatives and the radical design of the space it. This was important because it revealed the source of each material and their own handcraft processes. Left: photography by Brett Lloyd.