Childish Gambino is back with the release of his brand new visual called This is America produced by Doomsday with Ibra Ake and Fam Rothstein of Wolf & Rothstein and directed by Hiro Murai.
Nicki Minaj is back and decides to drop two brand new visuals. The first one is Barbie Tingz produced by J. Reid and directed by Giovanni Bianco & Nicki Minaj, and last the second is Chun-Li produced by Nicki Minaj & J. Reid and also directed by Steven Klein.
Luke Cage is back. After clearing his name, Luke Cage has become a celebrity on the streets of Harlem with a reputation as bulletproof as his skin. But being so visible has only increased his need to protect the community and find the limits of who he can and can’t save. With the rise of a formidable new foe, Luke is forced to confront the fine line that separates a hero from a villain.
Fly our colors. Ride with the Mayans M.C. this fall on FX.
Respect. Legacy. Revenge. Power Season 5 returns Sunday, July 1 on STARZ. Starring Omari Hardwick and Joseph Sikora.
Founder of ALYXMatthew M. Williams has teamed up with Nike to debut a new training collection. The American designer, who now resides in Italy, is putting his designing ability to the test creating a line of sportswear that puts function and aesthetic in first place.
The collection borrows elements from 2017’s Advanced Apparel Exploration project and expands on its features. Incorporating computational design and computer data, the duo created updated T-shirts, leggings and socks that are informed by organic movement. Williams leaves a bit of a human touch on the apparel leaving raw hems on the women’s tank and adding in certain imperfections that data would often leave out. Williams comments on the new project:
“What computational design and computer data can offer is really the future of design. It allows us to see things or take things further than we might otherwise. It helps to create a different perspective that we can build around. Working in tandem — with data and emotion — is super interesting.”
MMW is committed to merging reality with the sportswear design creating one of the most ambitious training lines from Nike. Simple things like pockets and other accessories won’t be ignored either:
“You need functionality in multiple areas in a training collection because we know it won’t only be used in the gym. For example, you need pockets, and you need elements that are detachable and adaptable.”
Completing the line is a simple towel and double Swoosh socks we can’t wait to get a closer look at. Take a sneak peek at the range above and mark your calendars for MMW x Nike’s July 12 release.
For those who have an interest in fashion, you might have come across Stellar Leuna‘s drawings without you even realizing it. Based in Sydney, Australia, the artist was tapped by Prada as one of its collaborators for the brand’s Spring/Summer 2018 collection. From graphic-heavy handbags to comic-inspired walls that covered the venue, Stellar’s wickedly beautiful work was introduced to a global audience on the Milan runway. And we, too, were instantly hypnotized by her art.
Before the Prada opportunity came about, Stellar had already established herself as a creative with a unique vision — one that involves witches, devilish characters and a lot of cool girls. Some seem to be sad and terrified, others appear angry and rebellious. Dabbling in colors occasionally and working mostly with black ink, her captivating pictures often call to mind scenes from an Alfred Hitchcock horror movie, evoking nostalgia and a lingering sense of suspense.
During a recent visit to Stellar’s studio, we spoke with the illustrator about her background, influences as well as her other artistic pursuits. Continue reading for our full conversation, and be sure to follow Stellar on Instagram to see more of her work.
The style of your art is heavily inspired by comics. Are you an avid comic reader yourself? What draws you to this particular aesthetic?
I go through phases with comics. Sometimes I read them a lot and then I like to take time away and also read non-fiction books and novels too. I’ve always been drawn to the simplicity of comic illustration because it’s all just ink and flat colours. I think the reason it’s appealing to me is the same reason I love watching movies so much. I just love having a visual component to storytelling.
Feminism seems to be a recurring theme in your work. How would you describe the women portrayed in your art?
There’s always a storytelling element in your work, with a lot of your paintings resembling scenes from horror films. Would you say that’s true?
Yes, that’s something I consciously do as an artist. I love to pay homage to things that influence me in quite obvious ways.
Let’s talk about your Spring/Summer 2018 gig with Prada. How did the project come about in the first place? What was the collaborative process like?
They just emailed me. I don’t really know how they came about my work at all but the process was basically just emails back and forth for the collection pieces. For the animation, it was a lot more collaborative. The animator and agency were both based in London, so it was at times challenging. Basically I came up with an idea and drew every movement frame-by-frame which I would then pass on to the animator and the creative director, and we’d refine and refine. I’m really proud of the end product and animation was something I really wanted to delve into even before the project began, so having such a cool project to start the learning process with was awesome.
What is your favorite piece from the Prada collaboration? Did you pick up anything from the collection yourself?
Yep, I’m getting one of those black trench coats with my FATALE patch on the back.
The crossover between art and fashion has become more prominent than ever these days. What are your thoughts on that?
I love it and hope that it only brings me more cool opportunities like what I’ve been doing with Prada. I think it’s really important to give emerging artists and small artists like myself big opportunities because often we are the ones who are the hungriest for opportunities and have the freshest ideas. When you combine tradition with innovation, society is just more interesting.
Moving on to your background — you’re born in Hong Kong but grew up in Australia. In what ways does being Australian-Chinese influence your art?
I think a lot of my angst came from just constantly feeling like I didn’t really belong anywhere especially as a child and in my teen years. When we first moved to Sydney and went to pre-school, I couldn’t speak any English so my mum found this woman who was a Chinese translator to help us and make sure that we were adjusting well, and so we felt like we had a member of the family there to make us feel a little more at home. Throughout my early school years, I always felt a disconnect with my white friends. Even if they were loving and supportive, there was always this lingering feeling that I was different. When I discovered punk music, it was like I finally felt okay with being a weirdo. I learnt that fitting in wasn’t really that important, but that self-acceptance and owning your weirdness is cool and okay. I think my art reflects a lot of those feelings.
What are some things and people that inspire you the most at the moment?
I’ve been watching the She-Ra animated series on Netflix lately. Every episode is the same plot but I love how naive the animation style is and the design of each of the characters. Animation is something i want to develop into my work this year so I’ve been “studying” different cartoons and techniques when I get the time. I also have always loved the films of Ralph Bakshi. He made the Lord of the Rings animated film and his style is amazing. He rotoscopes everything.