The Official Artisanal "streetwear" footwear (boots, shoes, sandals) thread (Guidi, CCP, Augusta, M.

[mmmargeologist]

Was the prostitute in Blade Runner 2049 wearing Guidi front zips?

 

[merz]

Was the prostitute in Blade Runner 2049 wearing Guidi front zips?

she was; and k is wearing a luc sweater. it looks like most of the wardrobe was off-the-shelf 'designer' goods of today, with the lack of costume design imagination being probably the most disappointing part of the film.

 

[LA Guy]

she was; and k is wearing a luc sweater. it looks like most of the wardrobe was off-the-shelf 'designer' goods of today, with the lack of costume design imagination being probably the most disappointing part of the film.

That said, isn't it kinda clever to take the "post apocalyptic" inspired clothing of today's imagination and transplant it into a fictional dystopian future?

 

[merz]

That said, isn't it kinda clever to take the "post apocalyptic" inspired clothing of today's imagination and transplant it into a fictional dystopian future?

maybe. clever in a curatorial way synonymous with the present. sort of what mark fisher talks about in slow cancelation of the future. what is absent is the same thing that made the original memorable: a compelling vision of a future in its minute detail, including the clothing.

 

[oulipien]

maybe. clever in a curatorial way synonymous with the present. sort of what mark fisher talks about in slow cancelation of the future. what is absent is the same thing that made the original memorable: a compelling vision of a future in its minute detail, including the clothing.

Huh. The focus on musical periodization struck me as odd in two ways—first, why should the rapid succession of relatively defined musical styles in one longish stretch of time, and the supposed smoothing-out of styles later, be metonymized in the first place? Why is that mode of cultural production so important, and isn't it possible that the supposed norm against which the current day is being measured and found wanting was itself exceptional? Second, when he asks about the "sound" of 2005 or 2008, well, to me, at least, there are identifiable sounds whose time has, as far as I can tell, pretty definitively passed; you don't hear much, these days, about the ecstatic, frenetic pop previously much hyped and peddled by (e.g.) Architecture in Helsinki, Head of Femur, Fiery Furnaces, and others I can't even remember.

 

[merz]

Huh. The focus on musical periodization struck me as odd in two ways—first, why should the rapid succession of relatively defined musical styles in one longish stretch of time, and the supposed smoothing-out of styles later, be metonymized in the first place? Why is that mode of cultural production so important, and isn't it possible that the supposed norm against which the current day is being measured and found wanting was itself exceptional?

fisher was a music journalist and hence the examples he uses are rooted in music and popular culture, but he is talking about the capacity for a radical break with the present, recognisable and readily-available, a problem highlighted by what was said about the film in relation to its progenitor. the thought applies to a lot of the work discussed here as well.

and yes, those were identifiable sounds but in each instance they're mining some recent past, with a narrowing span of time between initial and nostalgic currency. early-oughts post-punk revival was still a direct nostalgia kick (of what had never really gone away) even when it was a definitive, recognisable slab of something.

 

[oulipien]

I realize what his aim was and where he was coming from (and I don't think the mere characterization "music journalist" does him justice). But that specific line of thinking neither actually addresses, let alone supports, that point, nor does it make sense on its own terms. Musical periodization/specificity is a difficult case precisely because it makes differences seem starker—and hence more indicative of (the capacity for) radical breaks!—than they really were; the critical commonplaces about punk form a really egregious instance of this. If we have a sense of "what 1975 sounded like", it's because we've retrospectively fictionalized it by making it more uniform and exaggerating its differences from its successor and predecessor periods, and, again, I'm skeptical that we do have a sense of the distinctness of 1975 and 1972. Meanwhile, there actually are changes in what people listen to and what music people make, in niche (as a contributor to the Wire, surely he would have been aware of this) and in popular styles (some of which straight up would not have been possible in the past). Connecting the presence or absence of temporal specificity in cultural activity to the belief or lack thereof in radical breaks strikes me as basically cranky.

 

[eckblk]

DIMISSIANOS & MILLER

 

[sinnedk]

Something new?

 

[nyarkies]

They've been around. They're the ones that help produce the LEB distortion boots.

 

[sinnedk]

Looks like ma+/CDiem

 

[oulipien]

Seems like most non-japanese places just stock their sandals. Or am I missing some retailers?

 

[docdocgs]

Not a bad look at all. Do you have any, Eck? It would be great to see a live pair.

On another note, has anyone here picked up a pair of the Layer-0 black reverse cordovan boots that were made for Holger? I'm wondering what the impressions are about those. They look pretty good from here.
Thanks!

 

[LA Guy]

Atelier x Guidi - Tiffany Blue Guidi boots.

 

[sinnedk]

Ummm yuck