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Guest Post from Image Source
By John O’Reilly

Tibor and Maira Kalman’s (un)Fashion book was like a special edition of the Colors magazine he used to edit. A curated work of visual anthropology it shines a light on the everyday design of non-designers.

(un)Fashion, Tibor and Maira Kalman, Booth Clibborn, 2000. Family in Gobi desert, Mongolia. Gueorgui Pinkhassov /Magnum

When designer Tibor Kalman died in 1999, he left a legacy of deeply influential work that was significant as much for its cast of mind as it was for its design. Currently the notion of the designer is expanding, from the producer of ‘design thinking’ to the idea of the designer as storyteller. The latter being somewhat disputed by graphic designer Hamish Muir (founder of 8VO) in a recent Tweet.

Hamish Muir Tweet Grab

But Tibor Kalman really was someone who told stories through design. In fact storytelling, using images to throw out ideas and spin yarns, was a characteristic that placed him on the edge of the design world, an edge he designed with often eccentric charm. He was a diviner of design eccentricity, the stuff that didn’t sit with prevailing tastes and trends. Kalman’s stories were often anthropological stories, told in photographs, exercises in comparing the stories different cultures tell themselves through customs and ritual. Another way to describe this kind of visual content is the “design of everyday life”. Or perhaps the (un)Design of everyday life.

While in the 1990s and early noughties, there was a heated debate around the idea of graphic design as self-expression, Kalman took graphic design elsewhere – neither self-expression, nor professional. Design as visual anthropology, discovering visual styles and objects, the vernacular of everyday life, created by non-designers, stuff that communicates differently to the rules of current design practice. Perhaps most famously in his ads for Restaurant Florent based in the off-radar meatpacking district of New York, and though Kalman wasn’t seeking ‘authenticity’ as a style (he played with irony as you can see in the copy), this couldn’t have been more ‘authentic’ if the pig for the ‘boudin’ advertised in the ad smoked Gitanes while sweatily performing an impression of Jacques Brel singing Ne me Quitte Pas. In a similar way,  visually the ‘local’ for Kalman meant the visual geographies that fell outside the radar of conventional tastes and design.

From Tibor Kalman, Perverse Optimist, edited by Peter Hall. Booth-Clibborn Editions, 2002

He finished the picture selection and design for his book of photography (un)Fashion with his wife Maira Kalman (both credited as Creative Directors in the book) before he died, and it was published in 2000. Some of the book’s impact has been softened as the book was published when the internet was still crawling – images took an age to load at 26kps, and Flickr was launched in 2004. The exotic appeal of imagery of the local is now much more ubiquitous.

What remains is Kalman’s facility to tell a story in pictures, in this instance about clothes and accessories that really don’t fit with a fashionable vision of fashion, a beautiful idea of fashion or even a good-looking idea of fashion. (un)Fashion is what people wear everyday in different local spaces around the world, and its incredibly diverse. (un)Fashion, is mostly expressive in its idiosyncrasy, and like its close neighbor Fashion, is a way of looking at the world.

Optics. Man with red sunglasses at Doo-Dah parade, USA. Peter Essick, Aurora. Man with glasses held by string, India. J.&D. Duooin, Sygma / Woman sunbathing, Spain. Martin Parr, Magnum / Man wearing ski goggles, Afghanistan. Abbas, Magnum / Virtual Reality Glasses at an Allman Brothers Show, Woodstock, 1994, USA. Bob String, Sipa / Men in white Niger. Chris Brown, Saba / Boy wearing makeshift glasses, Indonesia. Tara Sosrowardoya, Liaison Agency / Woman in Chador, Kuwait / Abbas, Magnum.

Sometimes (un)Fashion is clothing that invests a vision of being closer to God or a representative of God.

Holy Wear, Mevlevi dervishes, Turkey. Adam Woolfitt, Woodfin Camp / Catholic priests Vatican City. Giansanti, Sygma / Jimmy Swaggart at Nassau Coliseum, NY. Steve McCurry, Magnum.

This is a book by a designer (and an illustrator, Maira Kalman), not a picture editor, or a journalist, someone who makes visual, conceptual and narrative relationships between pictures.

Accessories. Wedding headdress, India. Lindsay Hebbered, Woodfin Camp / Woman wearing vest with buttons, USA. Peter Essick, Aurora.

Read more about Tibor Kalman and see more great examples from (un)FASHION on the ImageSource blog.

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Photographer JLPH / Cultura RF
Photographer JLPH / Cultura RF

It’s tempting to say that in 2014 Craft is big business, but of course Craft is always small business.

So when was it that we moved from the world of anonymous corporate branding, design and logos, to the world of sign-painting? Actually, in this post-credit crunch era its easy to imagine many financial institutions fantasizing about swapping the cold, discredited corporate typeface for the almost childlike appeal of handmade signage.

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Guest Blog Post by Image Source

James Friedman’s photographic series, Pleasures and Terrors of Kissing, feels like an encyclopedia or taxonomy of kissing, or the document created by an ethnographer – passionate, affectionate, oblivious. Shot in black and white, the series enables the viewer to focus on the stillness of the kiss – the awkwardness of the bystander faced with this bubble in space hints at a little bit of social chaos injected by the public display of private passion (‘where to look?’).

Lips are the border of inside and outside, and in the latter part of the 20th Century ‘the kiss’ has been celebrated in photography as a public window on a private emotion – think of the couple in Robert Doisneau’s Kiss By The Hotel De Ville. Or Alfred Eisenstaedt’s image of the sailor kissing the woman in the white dress in Times Square on V-J Day. It’s the ultimate ‘anti-social’ image, not in the sense of being destructive, but an image of two people recoiling from the social world, into their world, whose pleasure and terror is not the exclusion of every other human being, it’s more profound than simply exclusion – in the pleasure of the kiss no one else exists. And because kissing is done with eyes closed, it’s a feeling that is almost unrepresentable, that can’t be said, and only seen in the photograph.

Photographer James Friedman, Pleasures and Terrors of Kissing, no. 701
Photographer James Friedman, Pleasures and Terrors of Kissing, #701

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