Home Blog Page 250

Artist Spotlight: fantasy of a broken heart

fantasy of a broken heart is the New York City-based project helmed by Al Nardo and Bailey Wollowitz, who met in 2017 and started playing together in bands like Animal Show and Sloppy Jane. They’re also permanent live members of Artist Spotlight alumni Water From Your Eyes (the duo of Nate Amos and Rachel Brown) and (Amos’ other project) This Is Lorelei, and the pair began writing songs before fantasy solidified as a band. Their reference points, like the songs collected on their debut album, are chaotically disparate yet meticulously arranged: 70s prog rock, bedroom pop, jazz, freak folk, and musical theater are all filtered through and vie for space on Feats of Engineering. At once indelibly hooky, wondrous, and unpredictably bombastic, the record finds the sweet spot between these dramatic styles and largely inscrutable lyrics, weighty emotions and a winking sense of humour. The front of the album is loaded with some of its most alluring and memorable track before spinning out chaotically and cryptically on the second half: “Nobody knows what you’re talking about,” they repeat over and over; at the same time, if you know you know. “Catharsis of the heart/ Is a personal affair,” Wollowitz intones on the final track, but as a duo, fantasy open so many paths towards it.

We caught up with fantasy of a broken heart for the latest edition of our Artist Spotlight series to talk about the origins of the band, the influences behind Feats of Engineering, playing live, and more.


Who’s in your live lineup right now? I’ve seen that Nate Amos and Margaux have both joined you on tour.

Bailey Wollowitz: We’re performing as a trio right now – the two of us and Nate. We’ve been expanding and contracting the lineup this year. In Brooklyn, the band is sometimes a four, five, or six-piece, and Margo’s on bass for that. For this run, we’re just doing the three of us because of some scheduling, but also to see how it pans out because touring is pretty expensive. But Margaux is one of the grooviest bass players of all time. I feel like she really gets our music, even though it sounds nothing like the music she writes herself. Well, it doesn’t sound nothing like it, but you know what I mean.

Al Nardo: How long has she been playing with us?

BW: I think her first gig was almost three years ago at this point. She’s just phenomenal. I think just having the experience of playing in a lot of projects informs our own music a lot, so it makes perfect sense that with Nate and Margaux, who are also people who play in a lot of other projects, the whole thing really gels together. So many people played on our record, a ton of friends, and I really enjoy the spirit of the band being an open door, just getting to rock out with our friends, but having the music be the centerpiece and knowing that it’s going to sound and feel different with different people playing in the band.

Given that supporting other people’s bands inspires your own music, how do you know when to focus or reserve space for fantasy of a broken heart in a way that feels intentional?

AL: Particularly with Nate, we’re running a very interdependent calendar. It’s a symbiotic thing where, especially this year, we’ve developed a mutual understanding of when it’s time to do what. And we’re always busy.

BW: It’s like, we know when we have a month off from Water From Your Eyes…

AN: So we should record stuff at that point. Or, we get back from this tour this week, and then we have four days before leaving for another band’s tour – those four days need to be practice for the upcoming thing. So that determines what’s happening at any given time, and it’s been pretty functional.

BW: With Nate, the recording and live process for both of us are pretty similar in terms of how we interact with each other. We’ll all be on tour, we’ll come home, and Nate will go to his studio to work on the next Water or Lorelei project, and we’ll be together working on fantasy stuff. We just hang out with each other all the time, so we’re listening to what the other is working on, hearing about plans, and giving ideas, but fundamentally, we’re in our own spaces. And then it’s like, “Alright, here’s the song, Nate. You have to learn how to play this now,” or vice versa.

What were your ambitions individually upon arriving in Brooklyn, and how did they shift when things got going with fantasy? 

BW: I think we came from very different places into New York. I’m from the suburbs north of New York City, so I grew up around New York City my whole life. I moved to play with a childhood friend, we had another band together. His name’s Sid Simons, he put out a really good record last year. I think for me personally, I always had a sense that this is what I wanted to do. I was a little kid dreaming of being a rock musician or whatever, in a really concrete way where, for better or for worse, at times it was like, “I don’t think there’s anything else that I can do.” Moving to Brooklyn was definitely like chasing the dream in that way, but certainly, upon arrival, I don’t think I had the confidence to be pursuing anything of my own songwriting at all. I was always writing stuff, but I was always more comfortable just playing in other groups, including some collaborative groups where I was contributing to the writing. But I think I had a very genuine sense, both of a lot of confidence when I was younger, but also some sort of earning your stripes thing, where I very much sought value in, or a necessity even, to be under someone else’s wing to figure out how it worked.

AN: I moved to New York to study journalism and instead found myself playing music, which was not the plan. [laughs] I’d been in a punk band in high school and joined a punk band in New York, for social reasons; I wanted to meet people. I joined a band off of Craigslist because I didn’t know anyone when I moved. I was 19 at the time, and I saw that this young girl was looking for a bassist, and that kind of stood out from the dads being like, “We want a drummer for our cover band. Must have practice space. Must be good.”

BW: “We sound like Pink Floyd, Arctic Monkeys, and The White Stripes.”

AN: That kind of changed my life by accident. But I would say that us starting Fantasy was really born out of: we were playing in a couple of bands together, we were living together, we started jamming, and neither one of us at that time was primarily a guitarist. Neither one of us was playing guitar in any bands in a significant way, so I feel like we were exploring songwriting and guitar-playing together in this way that felt very new at the time. That changed things for me because I liked playing in these punk bands, and that’s how I learned how to play music, but I don’t think that the traditional song format of that was so much something I enjoyed listening to as much as it was just a functional entry point for playing. We started writing these more complicated dual guitar parts, and that opened my mind up a little bit.

BW: Yeah. I came out of a punk scene in my hometown, too. The first band that we played in was just straight punk and a little bit of a garage thing; I was playing drums, Al was playing bass in that band. I think we bonded right away just liking a lot of different music  the first time we hung out, we were listening to all sorts of stuff, and definitely none of it was punk, even though we met at a punk show. What Al was saying, getting into playing guitar together – a lot of my favorite stuff in music is bands that have this really nebulous guitar flow that loses the traditional lead guitar, rhythm guitar person. Specifically Palm and a lot of Deerhoof stuff, which were at the time the bands in the New York and Philly scene that were finding the most success playing the weirdest stuff. The philosophy of, instead of one person playing a six-note chord, it’s like two parts where each person is only playing one or two notes at a time, and those two things together make the whole thing. I think that was really a revelation as we started writing songs.

Over the past five or six years, since we started approaching fantasy as an idea, all the punk stuff has come back into it. It feels like a very happy gelling of all the stuff that we like to listen to and to play. It’s been cool, as we start to play live more, finding the balance between the sometimes pristine nature of the recordings – which are inspired from a totally third influence, which is just the classic, really gorgeous-sounding recordings, like Steely Dan or jazz recordings which are very clean and dry, and the song speaks for itself, and the arrangement is endless – and playing live. I think finding our sound as a band has been about recognizing that the sound can be a lot of different things, and that the core of the thing is really all that matters: just knowing that the song itself means something to you and that you can play it a thousand different ways.

There also seems to be a musical theater influence amidst everything else. Can you talk about what there is for you in making experimental music that has a theatrical or even operatic bent to it? What do you feel like that element serves on the album?

AN: It’s so funny because I feel like we worked on the music in this very insulated way for a really long time. In starting to have the music be heard by people, a lot of people have mentioned this theatrical element that I personally was not perceiving in what we were doing at all. So it wasn’t intentional, or at least the parts of it that are theatrical, maybe that wasn’t the exact thing that was trying to be hit specifically.

BW: Yeah, I think there’s something to be said about how you often don’t recognize what the mission statement is while you’re actually doing it, or the mission statement is something different once it is heard by other people. As we work on recording new material right now and are playing some new stuff live that’s not on the album, looking back at the Feats of Engineering stuff, I’m like, “Oh yeah, this is sort of our rock opera album.” I don’t think the next record we make is gonna sound like this one at all. We always described Feats as a story sort of record, but maybe more in a song cycle, disjointed way where there’s some sort of narrative thread inside of the thing for people to follow. But I reckon the reason why even now I can look back at it and recognize that there’s a musical theater element to it is that I was a musical theater kid in high school. [Bailey laughs] Which, by the time we made the record, it felt like I was very divorced from that being an influence at all. But it absolutely was a record written by, at the onset of some of these songs, 22-year-old us, which means that whether I was aware of it or not, I was at the time someone who was not too many years divorced from that.

How did you land on that line, “Nobody knows what you’re talking about,” as the sort of emotional thesis of the record?

BW: I think “Nobody knows what you’re talking about” is exactly the conveyance of what we were talking about before, which is like, it doesn’t matter what the song means to us – it doesn’t matter at all how we feel about it because someone listening to the song is gonna just take away whatever they feel from it. On an emotional level, but also on a textual level. A lyric to me that is, like, very clearly about this one specific day where something happened to us is just totally intangible to the listener, and the listener can try to decide what they think it means, or maybe that line just doesn’t even really stick out to them at all. ‘Tapdance 1’, which is just that line repeated over and over and over again, is meant to be sort of a debriefing from the first half of the record, which is a lot of these heavy personal songs. And then ‘Tapdance 2’, with the long spoken monologuing, is like, “And here are all the things that nobody knows about!” It’s just a laundry list of maybe us stepping outside of the emotional world of the record and positioning how I perceive that someone else would be perceiving the thing.

‘Tapdance 2’ is my favorite song to play live on this tour. Just as a song, it’s really fun to play, but I think because it’s not out yet, for people to hear amidst a lot of other material that is familiar to people now who are coming to the gigs, there’s just some lines in that song that I feel crazy saying on stage.

Like the one about reading Pitchfork reviews?

BW: Exactly. Because I’m like, “But you’re here because you read about us on Stereogum,” you know? Some of that tongue-in-cheek stuff about the state of music itself – obviously, we’ve been talking for an hour, we love to talk about that sort of thing. When it was written, that line was coming out of a place where we at that point in time already had so much interaction with music journalism – just from being in bands, and Al’s worked in music radio. The too many Pitchfork reviews comment, I probably I felt motivated to say something like that just to call in the fact that I think around the time another band we played in had gotten a Pitchfork review for the first time, and it was funny to see.

That being said, when we wrote it, fantasyjust didn’t exist in that way at all. I’m excited for the record to come out and for people to hear that sort of thing, but that line means something different because now we, as people and as this band, do exist in the cultural fold of what I’m talking about. Which was very different than the sentiment it originally conveyed, which was throwing some sort of neutral acknowledgment at the fact that we are making a record in a world where it will be consumed.

And perceived.

AN: Yeah, perceived. I feel like we were really lucky to get to make this album and doing a lot of the writing during quarantine – we just got to write a lot of it for each other, so it’s very different to think about all of it through the context of how other people are thinking about it.

Do you mind sharing one thing that inspires you about each other?

BW: Al is really good at – and by good at, I mean just naturally does it, doesn’t have to think about it too hard – making a total stranger feel very welcome and at ease. That translates in a lot of ways, but recognizing some insecurity in myself as a musician starting out, where I was really anxious to be perceived in any way at all – definitely over the years, I’ve gotten more social, but I’m a pretty relatively antisocial person – and being welcomed into the first band that we played together when we first met, being really seen and heard as a person between us personally meant quite a big deal to me. But outside of myself as well, both generally speaking but also as a musician, I don’t know if I’ve met anyone else that has the same charisma and ability to tap into where someone else is at and really enjoy that with them as Al. Sometimes we’ll meet a random person, and I feel like within a couple of seconds, we’re really good friends.

AN: Thanks, Bailey.

BW: No problem, yeah.

AN: That’s really nice. It’s hard for me to even unpack the ways that I feel inspired by Bailey, because  more so than any band or any reference I could be trying to make, Bailey has completely shaped the way that I make music. And is definitely my number one inspiration when we’re making stuff together, or even when I’m doing things in my own corner. But Bailey has a really good sense of humor, and that inspires me. The most important thing, for me, in our creative processes, is that we laugh a lot. And Bailey makes me laugh a lot.

BW: Yeah, you make me laugh a lot too. I think so much of our relationship and friendship is based upon the premise that things are pretty serious all the time, and we’ve definitely been in some environments where things can be pretty severe. Severity is not a bad thing, nor should it be explicitly scary or something, because I think the people that are most inspiring to me, and who I recognize are the most “in it to win it” or whatever, are the people that take everything really, really seriously. But within that, you have to step back and giggle that it’s funny that you could be so severe about something as sort of floating in the wind as being in a rock band to begin with. [Bailey laughs] Yeah, we laugh a lot.


This interview has been edited and condensed for clarity and length.

fantasy of a broken heart’s Feats of Engineering is out now via Dots Per Inch.

Mount Eerie Releases New Song ‘I Saw Another Bird’

0

Phil Elverum has shared a new song from Night Palace, the first new album under the Mount Eerie name in five years. It’s called ‘I Saw Another Bird’, and it follows the previously unveiled songs ‘Broom of the Wind’ and ‘I Walk’. Check it out below.

“Behind the dry smirk of the title (sequelling out from A Crow Looked at Me) there are huge feelings that get opened” Elverum explained in a statement. “We are ridiculous little people toiling on the ground, but the sublime darts around above us always. We can pause, chill, and resume the conversation with the big unknown. This song tells how, in a toe tapping way.”

Night Palace is set to arrive on November 1 via his own label P.W. Elverum & Sun.

Florist Unveil New Single ‘This Was a Gift’

Florist have returned with a new single called ‘This Was a Gift’. Check it out below.

“’This Was A Gift’ is a love song about enduring difficult seasons of life with the people that we keep close,” the band’s Emily Sprague explained in a statement. “It is a musical push and pull that mirrors and describes the process of becoming vulnerable to heartbreak and loss that leads to the acceptance of eventual endings and appreciation of community. The band developed and grew with this song over the course of two years of live touring before committing it to recording, further deepening the roots of its meaning.”

“We don’t enter our collaboration environment trying to leave our personal stuff at the door,” Sprague added. “We always bring it in and we struggle and thrive while trying to swim through it.”

Florist released their self-titled album in 2022. Earlier this year, they contributed to the soundtrack for A24’s I Saw the TV Glow. Read our interview with Florist.

Waxahatchee Releases New Song ‘Much Ado About Nothing’

Waxahatchee has released a new song called ‘Much Ado About Nothing’. It marks Katie Crutchfield’s first new music since the release of her album Tigers Blood earlier this year. The track features Crutchfield on vocals, MJ Lenderman on acoustic and electric guitar, Brad Cook on bass, Phil Cook on piano, and Yan Westerlund on drums. Check it out below.

Bartees Strange Announces New Album ‘Horror’, Shares New Single ‘Sober’

Bartees Strange has announced his third LP, Horror. The follow-up to 2022’s Farm to Table is due for release on February 14 via 4AD. Today’s announcement comes with the release of the new single ‘Sober’, which follows the previously unveiled ‘Lie 95’. The track is accompanied by a video from director Ricardo Betancourt that draws inspiration from Sly & the Family Stone’s 1974 Soul Train performance. Check it out below and scroll down for the album cover and tracklist.

Strange produced ‘Sober’ with Jack Antonoff, Yves Rothman, and Lawrence Rothman. “This song is about falling short in a relationship, over and over and drinking because of it,” he explained in a statement. “I think this is something a lot of people can probably relate to. Being in love, but not being the best at showing it or feeling successful within it. And being afraid that this is something you’ll just always deal with because you never really saw a better example of how love works.”

Strange began working on the album at his home studio, laid down parts of it during a session with Yves and Lawrence Rothman, and finished it with Antonoff. Strange previously contributed to the self-titled album by Antonoff’s band Bleachers, which came out earlier this year. He was also featured in the soundtracks for Apple TV’s The New Look, produced and curated by Bleachers, as well as A24’s I Saw the TV Glow.

“In a way I think I made this record to reach out to people who may feel afraid of things in their lives too,” Strange reflected. “For me it’s love, locations, cosmic bad luck, or that feeling of doom that I’ve struggled with for as long as I can remember. I think that it’s easier to navigate the horrors and strangeness of life once you realize that everyone around you feels the same. This album is just me trying to connect. I’m trying to shrink the size of the world. I’m trying to feel close – so I’m less afraid.”

Horror Cover Artwork:

Horror Tracklist:

1. Too Much
2. Hit It Quit It
3. Sober
4. Baltimore
5. Lie 95
6. Wants, Needs
7. Lovers
8. Doomsday Buttercup
9. 17
10. Loop Defenders
11. Norf Gun
12. Backseat Banton

Geordie Greep Shares New Single ‘Blues’

0

Ahead of the release of his debut solo album, The New Sound, this Friday, black midi’s Geordie Greep has shared one more preview, ‘Blues’. It follows the lead single ‘Holy, Holy’. Check it out below, along with a live performance video filmed at TV Eye in Brooklyn, New York.

Katie Malco Enlists SOAK for New Song ‘Babette’

0

Katie Malco has released a new single, ‘Babette’, which features guest vocals from SOAK. It follows July’s ‘Fatal Attraction’, which marked the singer-songwriter’s first single in four years. Take a listen below.

“I wrote ‘Babette’ after a phone call with someone, where I felt I didn’t say any of the right things, they couldn’t hear me (literally and metaphorically), and ultimately, when I hung up, I felt that I didn’t fit into their life,” Malco explained in a statement. “I think the phone call is an analogy for not always knowing how to fit into social situations. I’m either too quiet and reserved or too loud and boisterous, but I can’t help it. I guess my personality can be a little too extreme in one direction or the other, and when I wrote Babette, I felt helpless to change it.”

SOAK added: “Myself and Katie navigated our way through North America with little more than our drivers’ licences and delusion a year or so back. Night after night when Katie began ‘Babette’ the relief was immediate. Not only had we successfully located the venue and survived that day’s gas station ‘lunch’ but we were really doing the thing! We were playing music in towns with names we couldn’t pronounce to handfuls of welcoming strangers. What more could we have asked for?”

Exploring the Appeal of Foot Fetishes: A Deep Dive into Modern Fetish Culture

Foot fetishes, a subcategory of body part fetishes, have steadily gained attention in mainstream and online spaces. This fascination, once considered taboo or niche, is now openly discussed across various platforms, allowing individuals to explore their preferences in more accepting environments. This article takes a deep dive into the appeal of foot fetishes, examining their origins, the psychology behind them, and how they fit into the broader landscape of modern fetish culture.

1. The History of Fetishism

Fetishes have been part of human sexuality for centuries, with foot fetishes being one of the most common. Historically, different cultures viewed feet in various symbolic ways. For instance, in ancient China, the practice of foot binding reflected ideals of beauty and femininity. Meanwhile, in medieval Europe, feet often held connotations of humility and submission. The rise of fetishism in psychology, spearheaded by Sigmund Freud, further introduced the idea of sexual attraction to non-genital body parts, feet being one of the most frequently mentioned examples. This historical context provides a backdrop for understanding the cultural fascination with feet in modern society.

2. Psychological Foundations of Foot Fetishes

Psychologists believe that foot fetishes are often linked to certain developmental stages or personal experiences. Freud’s theories suggested that fetishes could stem from childhood experiences or associations that solidify over time. Others believe it could be connected to sensory factors, such as the texture of feet or the way they look. Neurologically, the brain’s sensory map places feet near the areas that process genital sensations, which could explain the crossover for some people. This psychological framework helps explain why foot fetishes have such a broad and diverse following.

3. The Role of Media and Pop Culture

The portrayal of feet in pop culture, from iconic movie scenes to celebrity photoshoots, has certainly played a role in popularizing foot fetishes. Celebrities like Marilyn Monroe and Uma Thurman have been praised for their feet in certain roles, cementing them as a focal point for admiration. In today’s digital age, social media platforms like Instagram and TikTok have given rise to fan pages dedicated to celebrity feet. This increased visibility of feet in mainstream media has removed much of the stigma surrounding the fetish, allowing more people to feel comfortable discussing their interests.

4. The Evolution of Fetish Communities Online

With the advent of the internet, niche interests like foot fetishes found a safe space to thrive. Online forums and websites dedicated to various fetishes have allowed individuals to connect, share, and explore their preferences without fear of judgment. The rise of platforms specifically designed for buying and selling content related to feet, like Feet Finder, has further validated the interests of those with foot fetishes. These communities have cultivated a sense of belonging and acceptance, proving that such fetishes are not as uncommon or unusual as once thought.

5. Why Feet? The Allure of a Simple Body Part

For many, the appeal of feet lies in their subtle eroticism. Unlike more overtly sexual body parts, feet can be displayed in public without raising eyebrows, adding an element of mystery or intrigue for those who find them attractive. The sight of someone barefoot, in sandals, or wearing high heels can trigger arousal for those with a foot fetish. Furthermore, feet are often associated with vulnerability and submission, which plays into the desires of those who enjoy dominance and submissiveness within their sexual dynamics.

6. Foot Fetishism in Relationships

While foot fetishes are often misunderstood by those outside the fetish community, they can be integrated into relationships in a healthy and consensual manner. Many individuals with foot fetishes report that their partners are accepting, and even open to incorporating foot play into their intimacy. Communication and mutual consent are essential for exploring any fetish, including foot fetishes. Establishing trust and setting boundaries allows both partners to feel comfortable and respected, ensuring that the fetish enhances their connection rather than detracts from it.

7. The Intersection of Foot Fetishes and Fashion

Footwear plays a significant role in the appeal of foot fetishes, as shoes can accentuate the shape and form of feet. High heels, for instance, are often associated with power, elegance, and sensuality, which can amplify the fetish appeal. Shoes that expose the feet, such as sandals or open-toe styles, are also popular among foot fetishists. The fashion industry, perhaps unknowingly, caters to this fetish by continuously creating designs that draw attention to feet. This intersection between fetishism and fashion underscores how the allure of feet is not limited to their bare form but extends to how they are adorned and presented.

8. Breaking the Stigma Around Fetishes

Despite the growing visibility of fetishes like foot fetishes, there is still a lingering stigma attached to them. Many people feel embarrassed or ashamed to admit their preferences, fearing judgment from others. However, with greater representation in media and more open conversations about sexual diversity, the stigma is slowly being dismantled. As society becomes more accepting of different sexual preferences, people are increasingly finding the courage to embrace and share their fetishes without fear of condemnation.

9. The Role of Consent and Boundaries in Fetish Exploration

As with any form of sexual expression, consent and boundaries are crucial when exploring fetishes. It’s essential that all parties involved are comfortable and enthusiastic about participating in fetish-related activities. Whether in a relationship or through online platforms like Feet Finder, where users can buy and sell feet-related content, mutual respect is key. Healthy fetish exploration is about understanding the needs and limits of oneself and one’s partner, ensuring that all experiences are positive and consensual.

10. The Future of Fetish Culture in a Digital World

As technology continues to evolve, so too does the world of fetishism. Virtual reality (VR) and augmented reality (AR) are already making waves in the adult industry, offering new ways for individuals to experience and engage with their fetishes. Foot fetishism, like many other fetishes, is likely to see even greater integration into these technological advances, allowing for more immersive and personalized experiences. The future of fetish culture will likely continue to break down barriers, fostering an environment where people can freely explore and enjoy their unique interests without judgment.

Feet Finder: A Platform for Foot Fetish Enthusiasts

One platform that has embraced this niche market is Feet Finder, a dedicated site where users can buy and sell content related to feet. It provides a safe and secure space for individuals to explore their interests without fear of judgment or exploitation. For both sellers and buyers, the platform offers a straightforward, user-friendly experience that caters specifically to the foot fetish community. Through this service, people can connect with like-minded individuals and explore their fetish in a consensual, respectful manner, making the exploration of foot fetishes more accessible than ever before.

Conclusion

Foot fetishes, once shrouded in secrecy, are now gaining recognition as a valid and accepted part of sexual expression. Whether through online platforms, pop culture, or interpersonal relationships, individuals with foot fetishes are finding new ways to embrace their preferences. With ongoing discussions about consent, boundaries, and the role of fetishes in modern sexuality, the appeal of foot fetishes continues to grow, reflecting a broader societal shift toward acceptance and understanding of diverse sexual interests.

claire rousay Announces New Album ‘The Bloody Lady’, Shares New Single

claire rousay has announced a new album, The Bloody Lady, which is set for release on November 8 via VIERNULVIER Records. It features the reimagined score rousay wrote for Viktor Kubal’s 1980 animated film of the same name, which she debuted at Videodroom/Film Fest Gent 2023 in Ghent, Belgium. The record is accompanied by an extensive booklet including film stills and liner notes by Rastislav Steranka and Wouter Vanhaelemeesch. Listen to the first single ‘III’ below.

Based on the folktale of Elisabeth Bathory, The Bloody Lady follows the story of a Slovak noblewoman who murders hundreds of young women in order to stay youthful. “The actions surrounding the heart are pivotal in the film, and, along with its heartbeat, they formed the initial pulse of the score,” rousay shared.

rousay released sentiment, her debut Thrill Jockey album, earlier this year.

When Chinatown Meets Brooklyn Bridge: The Making of a Disruptive Streetwear Experiment

0

From September 20 to 22, 2024, renowned multidisciplinary fashion artist Guowei Su masterfully orchestrated the planning and execution of the fashion shoot for the “Birth of Royal Child” Autumn/Winter 2024 and Pre-Spring/Summer 2025 collections. This event was more than a typical fashion campaign; it was a vivid fusion of artistic expression, fashion innovation, and social commentary. It marked an exhilarating collaboration between Su and key figures in the fashion and music industries, including the popular influencer Beenslackin and renowned photographer Bladi, known for his impactful work within New York’s hip-hop scene.

During the campaign’s pre-production phase, Su and his team meticulously crafted a central theme that not only highlighted the brand’s urban identity but also wove a rich tapestry of exclusivity and empowerment. Drawing inspiration from the brand’s core philosophy of treating each consumer as the “chosen one,” Su created a visual spectacle centered around stark juxtapositions. He positioned models against the raw, unembellished backdrops of urban landscapes, creating a dramatic contrast with the luxurious textures and intricate craftsmanship of the garments. This visual strategy emphasized the adaptability of high fashion to the rugged realities of urban life, showcasing the garments’ versatility.

(The skate park beneath the Brooklyn Bridge.)

Su’s selection of locations was strategic and laden with symbolism. The back entrance of an Asian grocery store in Manhattan’s Chinatown was chosen for its textured authenticity and cultural vibrancy. This setting, with its weathered signage and colorful cultural artifacts set against the bustling backdrop of Chinatown, provided a rich narrative layer that highlighted the refined elegance of the clothing while rooting them in a space of cultural heritage. In contrast, a skate park beneath the Brooklyn Bridge, with its rough textures and dynamic graffiti, tapped into the pulse of street culture, infusing the campaign with an energetic, youthful vibe that complemented the luxurious garments.

These carefully chosen locales were instrumental in crafting the campaign’s narrative, demonstrating the brand’s unique ability to merge high fashion with elements of street culture. Each photograph resonated with themes of resilience, identity, and empowerment. Collaborating closely with Beenslackin, Guowei Su drew deeply from New York’s rich streetwear heritage to inform his styling choices. Together, they aimed to honor the city’s authentic urban culture while casting it through a lens of luxury and exclusivity that is integral to the “Birth of Royal Child’s” brand ethos.

Building on the foundational elements of classic New York streetwear—such as sophisticated layering techniques, vintage denim, and iconic Timberland boots—Su infused the collection with symbols of resilience and the enduring spirit of the urban landscape. To these, he added luxurious embellishments like pearls and rhinestones, which endowed the outfits with a regal, elevated quality that set them apart from conventional streetwear.

(The skate park beneath the Brooklyn Bridge.)

A curated color palette of muted, tonal earth tones and deep blacks created a cohesive visual context, allowing the intricate embellishments to shine brilliantly. This color scheme achieved a perfect balance between tradition and innovation, where the past and present coalesced seamlessly. The final visuals of the campaign brilliantly captured the essence of “Birth of Royal Child,” presenting a harmonious blend of street culture and opulent luxury. The selected backdrops, characterized by their inherent raw and chaotic energy, provided the perfect canvas for the polished, meticulously designed garments. These settings underscored the brand’s adeptness at juxtaposition—urban grit against luxurious detail—highlighting the adaptability of the pieces across varied environments.

(Final results from this photoshoot)

Ultimately, the campaign did more than showcase garments; it made a profound statement on the evolving landscape of streetwear, illustrating that luxury and street culture can coexist harmoniously to forge something genuinely transformative. “Birth of Royal Child” doesn’t just design clothes; it crafts experiences, empowering each wearer to feel uniquely royal and deeply connected to both the heritage and the progressive future of urban fashion. Through this campaign, Guowei Su has not only showcased his stylistic expertise but has also pushed the boundaries of what fashion can represent in modern urban culture.