i heart Louis Vuitton Stephen Sprouse

I love everything created in this range by Louis Vuitton of Marc Jacobs collaborating with Stephen Sprouse. I think it's be timeless and forever cool.

i heart Digital Graffiti Wall

By Tangible Interaction. This is a cool idea. I want this in my room house. It's like clean graffiti, it's not really there! I can see this taking off at Raves. It's pretty much a smart board, like the new high tech teachers boards that use a projector. It's a cool idea how they've made it into a graffiti and group event tool. I think it would be cool to see one of these installed in a public building, like a youth house or hospital, something like that. I like how it's a rentable worldwide thing too.

i heart Eveline Tarunadjaja

Wow. Just wow. Check out her site.

i heart Natalie Perkins

Beautiful paisley works in ink and water colour, I also love her drawings over photos. Check out Natalie Perkins.

i heart Graffiti

This is 'Nesting' in London by Eelus. I found it on Unurth.com. Unurthed is such a feast for the eyes! They just water-blasted off a whole lot of beautiful graffiti right next to my local train station (so I'm there twice a day usually). It saddens me when something so beautiful is destroyed.

i heart Blanket Statement

By Lisa Lefebvre

i heart People with Animals

i heart Tim Walker

I seem to be on this festive, fairy like, nostalgic, fairytale vibe at the moment. I think maybe it's because it's coming up to Winter and I miss the Midwinter raves I used to always attend back home. They were the highlight of my Winter. What magical, mythical nights they were! Something in Tim Walker's work really pulled me in, the same feeling of the otherworldly and mischievousness. The festivities and child like imagination. I solemnly swear that I'm up to no good.

i heart Vogue Patterns from BOOOM

This is a Vogue shoot with Steven Meisel in 2007 showcasing patterns for 2008, I know it's old, but I love it! I grabbed it off BOOOOM.

i heart Pothole Gardens by Pete Dungey.

'If we planted one of those in every hole, it would be like a forest in the road'. An ongoing public project by Pete Dungey, he welcomes participation. Pretty cool idea. Green Graffiti.

i heart Vogue Italia March 2010

I stumbled across these images on coutequecoute.blogspot.com, the rabbit head shot has to be one of my top images for 2010, it is just so beautiful.
Credit: Vogue Italy

i heart Fantastic Mr. Fox

i heart A-Z Six Month Uniforms by Andrea Zittel

A Brief History of A-Z Uniforms Andrea Zittel

A-Z Six Month Uniforms

Most of us own a favorite garment that always makes us look and feel good, but social etiquette dictates that we wear a different change of clothes every day. Sometimes this multitude of options can actually feel more restrictive than a self-imposed constant. Because I was tired of the tyranny of constant variety, I began a six-month uniform project. Starting in 1991 I would design and make one perfect dress for each season, and would then wear that dress every day for six months. Although utilitarian in principle, I often found that there was a strong element of fantasy or emotional need invested in each season's design. The experiment as a whole worked quite well, especially since dreaming up the next season's design helped relieve any monotony that might have occurred from wearing the same dress every day.

A-Z Personal Panel Uniforms

After four years of making uniforms, I began to find it more and more difficult to come up with a new style of dress each season, so I decided to create some guidelines to make the decision a little easier. I looked around at the numerous rules that had already been made by other designers, particularly by the Russian Constructivists. Their idiom that "geometric patterns maintained the integrity of the fabric" (which was woven in rectangles) was arbitrary in one way, lucid and sensible in another. As a way to push this rule to its absurd yet logical conclusion, I decided to take the position that all dresses should only be made from rectangles…almost as if the fabric had been sliced from the bolt. The most interesting thing about the rectangular format is that the creative variations within it become almost limitless, and it was possible to achieve the effect of either a prom dress or a blacksmith's apron with a few suggestive details.

RAUGH Uniforms

When I was developing my new ideology called RAUGH, I realized that I could evolve the Personal Panels to their most logical extreme by using only rectangles of fabric literally torn from the bolt. This reduced my activity in making a dress to a few minute modifications, such as using safety pins to fasten a strap to fabric or a single strategic seam. While the RAUGH garments require no expertise in either conception or construction, it took skill to make designs that looked both sophisticated and attractive.

Single Strand Uniforms

One idiom behind the A-Z Personal Panels is that they are a first hand evolution of their former material. Eventually, I realized that this dictate could be even more directly achieved by making clothing out of a single strand, instead of woven fibers. The resulting "Single Strand Garments" were crocheted one per quarterly season. I liked crochet because it required the least number of implements possible in the construction of the garment-a single crochet hook. (I would break the yarn rather than cutting it with scissors) It was also perfect because it meant that I could create a dress anywhere, anytime. With my hectic schedule, much of my otherwise wasted time spent on planes and traveling could be made both creative and productive.


Hand Made Single Strand Uniforms

It might sound silly, but one of my biggest fears when I was in the process of crocheting a dress was that I would loose my hook. If that happened, I would have to recalculate the gauge of my pattern to a different sized hook and start over again. Considering that each dress takes six to eight weeks of labor that could be a real setback. I began to wonder if there was a way to link yarn directly off of my fingers without using any extraneous tools (other than my own body). I liked the purity of this idea, as it reminded me of an insect spinning its own cocoon, but instead I would be using my body to weave a covering for itself. In the fall of 2001 I finally figured out a way to do this. The technique was simple, but it just required practice and precision to control the tension correctly. As I gained skill, I started to make the patterns less linear and more abstract so that they resembled webs or uneven netting.

Fiber Form Uniforms

Since 1991 the technical and conceptual evolution in the A-Z Uniforms Series has been gravitating towards an increasingly direct way of making something. After I had finally reduced the tools of production to simply using my own hands, I then began to consider the material that I was using. What if I could trace the strand of yarn back to its original form as fiber? Now I am finally beginning to make the most direct form of clothing possible by hand "felting" wool directly into the shape of a garment, and thereby inventing my own ways to make shirts and dresses. Because the clothing is made as one piece, there are no seams involved, and when it is finished I use a safety pin to connect the two sides so that it will stay on! I have encapsulated this body of work under the heading "A-Z Advanced Technologies," which plays off of the way that something can be both incredibly primitive and quite sophisticated at the same time. In other areas of A-Z Advanced Technologies I am also beginning to develop new materials and fabrication strategies for making furniture and objects that I use in the practice of my own day to day living.

i heart James Stringer

A beautiful and alluring shoot, I love a couple of lines from his bio: "Always inspired by his surroundings, James has found that the simplest things can often be the most powerful when captured. Believing firmly that he doesn't want to learn boundaries, he wants to discover there is none."

Check out his website

i heart Marina Abramović

Fascinating stuff, especially this work:

Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were scissors, a knife, a whip, and, most notoriously, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) several people began to act quite aggressively. As Abramović described it later:

“The experience I learned was that…if you leave decision to the public, you can be killed.” ... “I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.

And just look at her house on The New York Times