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Interview: Iggy Pop

The iconic rocker on picking up women in daylight, his greatest moments and his new clothing collaboration with Sailor Jerry

by David Graver in Culture on 24 October 2014

Iggy Pop, Interviews, Miami, Rock Stars, Sailor Jerry, Collaborations, Apparel, Denim, Music

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No musician ushered in the punk rock movement with as much fervor and chaos as Iggy Pop. He defined the times. He defied expectation. He rocked out, collaborating with and inspiring the best. His live shows would fill arenas and his tracks would define crucial moments in cinema. And over time, he became a household name. On a recent trip to Miami, we met with the icon to discuss music, mayhem and his just released apparel collaboration with Sailor Jerry. The The Flash Collection is limited to two main pieces: a signed "Death Shall Triumph" denim vest (in an edition of 50) and a belt (edition of 100).

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How did your clothing collaboration with Sailor Jerry happen?

They had a lawyer who apparently went to junior high with me, named Dean. Dean knew a guy named Matt who was the drummer in Guns and Roses, and then Velvet Revolver. Matt knows me. Matt emailed me "There's some guys looking for you." They emailed and basically said they wanted to do an ad using TVI. I love TVI. It developed out of that.

Basically, they wanted to do a collab. It didn't sound like it was going to tease my brain desperately. They gave me a bunch of material on Norman "Sailor Jerry" Collins. I had a friend in New York named Jonathan Shaw who was one of the great illegal tattoo artists (he had something called Fun City in the '80s and into the '90s). He had taught me some of the old school tattoo lure. Through him I met some of the [Hell's] Angels in NY. There's a very good visual artist Steve Bonge, who is also an Angel. I admired their aesthetic. Also, I love old Honolulu. I spent some time in Hawaii and I was married to a Japanese woman for many years. I understand Spam with your rice. Mix and match. I've always liked pinups. I've worked about half of my life in places where the cocktails aren't necessarily legal and you're not more than a block from a brothel. You know a guy who knows a guy who is a bad guy. I thought, well, that's great. I like these images and it's a good gig.

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Did you expect to be designing clothes?

Well, no. I am combining elements of clothing that everyone knows. That's all. The only thing I regret is that originally I wanted to do a line of boxer shorts with it. We mocked them up and they looked great. I had pinup girls right on the dick. It was beautiful. Then I realized, if these are released, there's going to be pressure on me to model them. You know, I would actually rather flash my penis than model a pair of boxer shorts. That's just not cool. So I said the boxer shorts are out. I went with the vest. It's nice denim. It's not true blue. It's unisex. A guy can wear it. A chick can wear it. And they can use the patches. They're numbered and signed. They have artifact value to someone, or maybe not. I don't know.

Most of the iconic imagery depicting you, has you barely clothed. How does that coincide with your entry into apparel?

I don't wear a lot of clothes, no. This is not a lot of clothes. Some people hide behind their clothes. Other people, clothes get in the way—but the way I was dressing when I was starting out, I would just do it over and over so finally there would be spots on the shirt and holes in the pants. I wouldn't bother repairing them. My sneakers would get dirty. You just take something nice and casual, that shows you're not fucking corny. And it's not armor. And you just let it slide. Once in a while, I like to throw in some women's clothing. A little glitter, some spray on. I can rock a dress. I can.

You describe your aesthetic as good simple negative energy. Can you explain that?

I can feed off that when it's happening. A steady diet of that will fuck you up. But you hear that, for instance, you listen to Black Lips' "Bad Kids" and they're trying for that. Or like Harmony Korine's early work. In my case, there was quite a bit of that in the Raw Power era Stooges. Just a nasty little delinquent who practiced guitar all his life. There were two messages. The slower songs were: "You better watch out because I am going to fucking get you." The faster songs were: "It's on and I am kicking your ass and it's fun." That's exciting because unfortunately, it's just easier than developing positive energy.

What's inspiring to you? How does that fuel your creative process?

Some of the most inspiring things I've seen recently: I was being driven home after a day's work to get home early and go to bed early—because when you're 67 and your career didn't really heat up till you were 50 something, you need to get your sleep. I was driving home and it was dusk. There was a long line of scantily clad, over-accessorized, over-made up, ADD-ridden youth. All [waiting] in a line, still in daylight, looking raw. So I knew something was going on. Find out who's playing there tonight. I wanted to know. The kids were something outlandish. That inspires me.

I am what I am. My body has been through a lot. I have to get my din-din and my sleep. To be glorious and flamboyant and all those things in public involves being insensitive to the pain of others. It's a drag for others but it's fine for the person. Now, I've become more responsible. I don't want to hurt anybody. So that's kind of a drag.

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In a lifetime of groundbreaking moments, and music changing moments, what do you think has been your most important?

There were a couple. When I did the studio vocals for "I Wanna Be Your Dog," the studio vocals for "Search and Destroy," and the studio vocals for "The Passenger." Those three. On each occasion, I was starting to get very excited and nervous. "Oh my God, we've got a good idea. I've got it. We've got it." You spit it out and you hear it back and you know this is high art. I didn't pay any attention to the money, but I knew I could RIP. The live shit is numerous. There were different times. The personal shit is mostly what I did for recreation, all my life, is walk around a lot day and night, especially during the days, of the capital cities of the world. Usually I always like to pick up chicks in the daylight. It's a lot better in certain ways. You meet a better class of people and you get a closer look at what you're dealing with. I've never been a deep night crawler. I've had my phases when it has been this way.

What music are you listening to?

For my own pleasure, it would be blues and jazz of the '30s through the '60s. Miles Davis, Bukka White, John Coltrane, Sun Ra and all that stuff. When I want to listen for like, you know, slightly newer stuff, I enjoy G.O.A.T., Ice Age, Black Lips, Sleigh Bells. I don't rush out to hear what Julian Casablancas has just done, but if I run into it, I want to listen. He's a really good singer.

Flash Collection images courtesy of Mick Rock, event images courtesy of Nate Smith

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Seven Designers of the Future at La Rinascente

The Italian retailer offers limited edition work by emerging designers sourced from Milan Design Week

by Paolo Ferrarini in Design on 24 October 2014

Holiday Shop, Italy, Milan, New Designers, Young Talent, Designers, Home, Office, Milan Design Week

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Each year during Milan Design week, SaloneSatellite is the area of Salone del Mobile devoted to emerging designers and schools. This is one of the true hot-spots—the place to find the future of industrial and furniture design. For the second year Italy’s oldest department store, La Rinascente, has partnered with SaloneSatellite to put into production a selection of the seven best works, chosen from the 650 under-35 designers who took part in the 2014 edition. The prototypes we saw back in April are now real objects, for sale throughout the holidays from the Design Supermarket of Milan’s flagship store. “Design, Innovation & Craftsmanship” is the theme that has inspired this year’s choices. For this reason, each selected design uses both traditional production techniques and materials along with digital manufacturing and industrial processes.

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French designer Arturo Erbsman’s "Water Lamps" are inspired by natural processes in everyday life. The lamps recreate the shades and effects of water. The glass spheres contain water, which evaporates and condensates thanks to the the warmth of the bulbs and the temperature of the room. The effect is a poetic and magical use of basic science and advanced design.

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“Mush” is a battery-powered lamp, designed by Claudia Garay. It’s clearly inspired by a mushroom, with a wooden base and a ceramic top. The LED lights are reflected under the tiny dome, recreating a cozy and pleasant effect.

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Though originally from Japan, Tsukasa Goto fell in love with Italy upon visiting and settled in there in 2004. The transplant surely finds inspiration in his new home—a sentiment seen directly in his marble fruit bowls, which pay homage to the Italian landscape. “Geographical” resembles a mountain, while “Agricultural” uses colored marble to represent cultivated fields.

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Uto Balmoral chooses marble as well, but with a more conceptual and metaphorical approach. With “Molding” traditional architectural friezes and ornaments become modular objects for the table. They can be functional, or simply decorative, surreal objects with a purpose.

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The charm of mythical women and the beauty of nature come together in the delicate designs by Maria Volokhova. The lower half of famous female bodies (like those of Twiggy and Cinderella) have been turned into porcelain vases, to be adorned with flowers. An unconvetional action thus becomes a radically aesthetic approach.

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We first spotted Tania Da Cruz at SaloneSatellite back in 2011. Today she’s at La Rinascente Design Supermarket with “Playmobilia,” a small collection of three colorful stools, shaped like gigantic reproductions of the wigs once worn by miniature play figures. With this new product she proves to be both ironic and poetic at the same time.

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Dossofiorito is Livia Rossi and Gianluca Giabardo, an Italian duo based in Verona. “The Phytophiler” is a series of handmade terracotta vases with embellished lips. The unique modular design allows users to add accessories like mirrors and magnifying lenses, through which it’s possible to multiply and enhance the vision of nature.

The "Designers of the Future" collection is available at the Design Supermarket in La Rinascente Milan until 25 December 2014.

Images courtesy of their respective designer

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Salvatore Calabrese at The Cromwell, Las Vegas

The master bartender discusses what it means to make a signature cocktail menu around the world

by David Graver in Food + Drink on 23 October 2014

Bartenders, Cocktail Bars, Cocktails, Las Vegas, Salvatore Calabrese, The Cromwell, Cooking, Negroni

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There are few people in the spirits world with a name as recognizable as Salvatore Calabrese. Yes, he held the world record for most expensive cocktail (pricey because of the rare, vintage cognac he used dating back to 1778). But more importantly, his work has spanned over half a century and several countries. Calabrese is a martini master, who went so far as to invent the now-famed Breakfast Martini, frequently voted one of the top ten new modern classics. Altogether, his imagination, and belief in "liquid history" (a concept that implores people to seek out vintage spirits and ingredients) have lead to signature cocktail menus the world over. We met up with him at his latest endeavor, the old world-style Bound in Las Vegas' boutique hotel The Cromwell.

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For Calabrese, it comes down to process and inspiration when developing a signature menu. "When I start to think about my next new home, I ask myself what will the world want to enjoy? Hospitality. Secondary, I want it to be something of mine. Of me, or a note that makes me. What will the concept be? For example, the concept here needs to be for the world and for Las Vegas," he shares with CH. "For a menu I need to add something everyone will recognize, a classic. Then I think of the new style of modern bartenders, and play with that. Finally, I think on something completely unique." And this is just the start.

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"Then I start to dream," he continues. "It's a dream zone. That lead me here. I thought, what does Vegas not do? Sleep. When people are here for two or three days, they do not want to get in bed.They want to stay awake. So, for me, I thought to give them a sophisticated way to stay awake. I created a section of cocktails that are coffee-based. But these are not espresso martinis. They are something special."

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When it comes to individual drink ideation, Calabrese starts with a base and opens the flood gates of experimentation. "I start every day with an espresso. In my mocha pot, I put the water and the coffee. So I thought, what would happen if I removed the water. What can this be done with? Beer? Champagne? Vermouth. I started to really have some fun. For me, when I start to create something, I like to think about a secret weapon." This was how his Breakfast Martini was born. This, Calabrese believes, is one of his best accomplishments. "The biggest dream of any bartender is to immortalize oneself with a great drink that in a 100 years time people are still enjoying."

"I have been doing this for 48 years, since 1966. I still love doing this. What I love, is what I have learned. It's all very well to be a great mixologist, but that does not give you the right to call yourself a good bartender. Mixing drinks and hospitality go together. That's where the soul comes from. We do a vivid, living theater," he says. Moreover, he describes a global movement. "The world has become quite small. When I started, behind my bar I had a handful of bottles. Now I have over 600 different types, some going as far back as 1770. The world is not as fast as we think, so these things are accessible. Especially because we communicate with each other." Calabrese believes the art of cocktail making is growing closer to that of cooking. He himself utilizes rare ingredients that only chefs use, but he maintains that over the top cocktails are not a sign of quality cocktail crafting.

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Calabrese's personal favorite drink is the negroni. "I had to make a twist on the negroni. I am a negroni lover. It's one of the most difficult drinks because it is so simple. Lots of bartenders do not understand there are the three ingredients and the way they are placed together matters: the bitterness of Campari, the sweetness of Vermouth and the spicy dryness of gin." Calabrese played with this for a negroni unique to The Cromwell. He also modernized the Blood and Sand, by way of aging the individual components. "It's light and full of freshness, but it settles into richness. For me, this makes a good drink." And that's what Calabrese has been doing for years: making and envisioning drinks that are more than just good, they're memorable.

Lead image by David Graver, other images courtesy of The Cromwell

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