"The Untold Renaissance": Ikire Jones Spring/Summer 2014 Lookbook.

It’s all dapper hommes, suave strides and bold prints and patterns in Nigerian designer Wale Oyejide’s Spring/Summer 2014 lookbook for his brand Ikire Jones.

“This collection pays homage to 18th century textiles and tapestries while exploring the absence of persons of color in Medieval and Renaissance-era European art.  Borrowing from the sampling method employed in hip hop culture, each reinvented piece tells an original narrative from the perspective of Africans who have been placed in an alien context.  Through this reverse lens to the past, the present circumstances of individuals who feel displaced and alienated may also be considered.”

Contemporary Art Week!

I absolutely love the concept behind this. Especially: “reverse lens to the past”.

official website





Goofin around with gifs.


On Logos


We wanted to talk a little bit about the logo for the movie. The Japanese logo was designed by Takayasu Fujii. It’s actually quite clever: the text gradually grows, building up to the final character, the kanji for “Castle” (shiro). And like the castle in the film, you can see a surrounding…

The amount of care being put into this release is really encouraging… especially considering how callously the movie was treated in its last release. Those poor opening credits…


Something Interesting™ brought to my attention by a cousin of mine: A narrative from my great-uncle about being a Jew (in hiding) in Nazi Budapest.

Unlike my father’s-father’s family that got kind of, y’know, wiped out, my father’s-mother’s family all survived thanks to false identification courtesy of Raoul Wallenberg. The picture my great-uncle holds up is one that you actually might see if you visit the Holocaust Museum in DC or similar happy venues, because it was remarkable for an entire family of nine kids (plus mom and dad) to remain whole during those times.

I never got to meet my great-grandfather, but I would’ve loved to, as I understand he was a writer, too. He wrote in Hungarian though, so I’d probably have to fire up Babelfish.

Watching stuff like this is kind of interesting because I find out things I never knew about my family. “Oh, my great-grandfather almost settled in the States, not Canada, and - oh, Uncle Sam killed a Nazi with his bare hands and wore his uniform, huh? … … … his swimming pool was amazing.”

(It was, too.)

(Source: vazetti)

Rusty’s Real Deal Baseball, a recent release for the 3DS, is bizarre. The concept is that there’s a sad sack ex-baseball player dog who wants to offload his baseball video game collection, a bunch of cartridges from a game company called “Nontendo” for the “4DS”. But he’s overcharging, and if you manage to successfully haggle with him, you can get a discount on the real dollar price for the games.

It reminds me of a recent article about The Lego Movie, specifically this part:

Branding may have finally reached its Mannerist phase. Where the old-fashioned brand earnestly embraced a core message that verged on religious doctrine (Apple’s “Think Different,” Nike’s “Just Do It”), the new brand is aggressively self-aware, exaggerated and self-referential to the point of collapsing in on itself; rather than imbuing the product with magical qualities, it embraces and undercuts those qualities in one swift gesture. The effect is to subvert consumer prejudices and preconceptions and make us forget that we’re caught in a commerce-focused undertow.

It’s a counterintuitive sleight of hand: By acknowledging that their central message is unbelievable or at least exaggerated, the branding masterminds gain our trust and bolster our faith in the brand. Will Ferrell, for example, promoted “Anchorman II” and Dodge at the same time by appearing on talk shows as Ron Burgundy and declaring that Dodge’s cars were “terrible.” Dodge sales spiked. (Ferrell also voices President Business.) In New Zealand, Burger King ran YouTube ads of two guys eating Burger King while complaining about YouTube ads. Nearly every Super Bowl ad this year referred to the fact that it was a Super Bowl ad. The brand — and the TV ad, the movie and the fictional spokesman — is hyperaware of its own fictionality and thus earns the right to simultaneously denigrate and elevate itself as divine.