In the 14th episode of The Fresh Prince of Bel-Air our hero Will Smith finds himself bored with his new private school uniform. He discovers that the lining of his blazer is far more interesting and, in my earliest childhood memory of watching the show, flips it inside out. Throughout the entire run of the show, Will never shies away from flamboyant clothing. It compliments his personality perfectly: his candor, his confidence, and his insistence on never entirely fitting into his new surroundings.
This supercut celebrates the vibrant colours and vivid patterns of the wardrobes seen in films and TV shows between 1989 and 1992: Do the Right Thing, White Men Can’t Jump, The Fresh Prince of Bel-Air, and In Living Color. The influence of grunge had not yet taken hold of popular culture, and I’m sad that we couldn’t have staved it off for a little longer. I prefer Wesley Snipes’s low tanks and cycling hats in White Men Can’t Jump to muddy flannels and ripped jeans any day of the week.
Another reason to savour this era was the abundance of Rosie Perez. In White Men Can’t Jump she made hoop earrings work for any occasion, be it rollerblading in Venice Beach or fulfilling her dream of appearing on Jeopardy! She introduced boxing gloves as a fashion accessory in the opening credits of Do the Right Thing. Her style influence no doubt extended to the Fly Girls of In Living Color, where she was the choreographer for the first four seasons. It’s a Herculean task to pick just one favourite look, but the lime green scarf with the floral print dress holds a special place in my heart.
So travel back with me to a fresher, more fly era. A time of scrunchies, spandex, and suspenders. When people wore their personalities not just on their sleeves, but on their knuckle rings as well.
video and text // Daniel Reis title design // Jackie Hudson
Readers, I must confess that the Wornettes made a groundbreaking scientific breakthrough during the shoot for the Issue 15 editorial, Geometress. Our art director Casie Brown was so adamant that we achieve period authenticity for this mod-inspired shoot that we literally traveled back in time to 1960s London. I won’t bore you with the technical details, but needless to say I think we nailed it. How else can you explain the pitch-perfect outfits modelled by our assistant publisher Sofia Luu and our graphic designer Natalie Papanikolov, or the era-evoking photography of Lisa Kannakko?
The simplest answer is usually the correct one, readers. Time travel.
video and text // Daniel Reis titles design // Alexandra Niit end animation // Barry Potter
Wearing hair on just your head is so passé. For our Issue 15 editorial, La Brunette est Ma Blonde, wornette stylist Eliza Trent-Rennick created an entire wardrobe of follicular fashion for models Ave Smith and Rachelle Ralla. Hair blouses, bras, and shoes compliment other curiosities such as a clock purse and a telephone handbag. Photographed by Arden Wray, in the home of Erin Hall (owner of one of our favourite independent fashion boutiques Robber) even the wallpaper is worth swooning over.
video and text //Daniel Reis titles design //Alexandra Niit end animation //Barry Potter
The footage above was taken during a top secret mission to infiltrate a new exhibition of James Bond costumes, props, and sketches at the TIFF Bell Lightbox. Alright, I was invited. And I shot it on my iPhone, not microfiche. Designing 007: Fifty Years of Bond Style celebrates half a century of the cinema’s most famous spy. Everything you could possibly want is here: Ursula Andress’s white bikini, Oddjob’s deadly bowler hat, Goldfinger’s gold tuxedo.
I had the privilege of interviewing Oscar-winning costume designer Lindy Hemming (Topsy-Turvy, The Dark Knight trilogy) about her experiences working on five Bond films, from GoldenEye to Casino Royale. Her insight into creating Bond’s wardrobe gave me a greater appreciation for the craft of costume design. An immaculately tailored tuxedo can announce 007′s presence more powerfully than his own signature introduction: “Bond, James Bond.”