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The Pub - Discuss Anything

Started by Manuf,


| Palmistry |
| Tarot Card |
| Ouija Board |
| Crystal Ball | 


£39.00 GBP



Ouija Board | Limited Run

£39.00 GBP






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SNS x Taikan

For the first time joining forces, brand SNS and Canadian bagmaker Taikan link up for three exclusive bags. The distinct collaboration accommodates your daily needs for stylish conveyance. It offers two Sacoche bags in a small and large size with pink and pistachio-colored nylon fabric, co-branded shoulder straps, and a signature external mesh pocket. Sharing the same design DNA is the durable classic day pack poly-nylon Taikan Stinger bag. Dipped in peach color, with two zippered compartments and mesh elements, we see SNS and Taikan reimagine the over-the-shoulder bag as part of their partnership.

SNS x Taikan is now available at sneakersnstuff.com and in all SNS locations.



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4 hours ago, NikkiCFC said:

Perfect for the pub, guys: Gucci unveils £1,700 tartan dress with satin bow waist for MEN to 'disrupt' the 'toxic stereotypes' of 'masculine gender identity'


dresses on men can look great

THAT dress is hideous on anyone

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Wanda Koop: HeartBeat Bots | Michelle Rawlings: In The Garden

2276 East 16th Street, Los Angeles, CA 90021
Oct 03, 11 AM - 6 PM — ends Nov 07, 2020

For Appointments:

Night Gallery is pleased to announce HeartBeat Bots, an exhibition of paintings by Wanda Koop. This is the artist’s second solo exhibition at Night Gallery.

An ongoing series dating back to the mid-80s but exhibited for the first time, HeartBeat Bots reveals Koop’s fascination with robotics and the post-human condition. The exhibition is anchored by a suite of canvases depicting robotic subjects, anthropomorphic in appearance and situated within the conventions of portrait painting. All of the paintings were made in the artist’s Riding Mountain studio, a remote setting some 130 miles Northwest of her home in Winnipeg, Canada. Koop’s palette—fluid strokes of neon pink and orange; vibrating fields of blue—breathes life into her near-human robots. Loosely contained assemblages of marks and color fields, these figures also conjure topography, their surfaces resembling landscapes of a planet that is neither alien nor familiar. Koop paints the human into machine and landscape alike.

This fluidity is central to HeartBeat Bots, where Koop has filled the gallery with fragments of the terrestrial. The procession of mechanized portrait sitters is threaded through with images of veiny trees, spider webs, and a full moon pulsating above a reflective lake. Other works appear stripped of representational content, such as Breaking News (Colour Bar), a massive colour field painting composed of a luminous yellow ground resting above a strip of eight vertical bars. Parallel drips descend from the top of the canvas, cinching and swelling to resemble massive teardrops. Physical expressions of emotion, which the artist describes as “cutting the surface,” extends to a body of paintings recently exhibited at the Dallas Museum of Art: eight monumental landscapes (two of which are included in HeartBeat Bots), similarly punctured by pairs of falling “tears,” project an affective dimension of human psychology onto thinking machines. Just as robots are created by humans to fulfil a purpose, of her paintings Koop says: “I’m making something that is highly useful in a psychological way… that we see ourselves in it.”

While viewers seek the familiar in these near-human forms, Koop, meanwhile, smuggles in forms of seeing that lie beyond our senses. The exhibition includes one painting, Heartbeat Bot (Bleu), based on the symbol for facial recognition. “It doesn’t look like it, but it’s there,” she asserts, in a subtle allusion to how AI’s pattern recognition surpasses ours. For many years now, the artist has considered the contingency of vision, as well as the effects of insensible energy, in works that register “all that we can’t see and that we can’t feel, trying to paint the unknown.” By making her brush vibrate, Koop creates lines that dissipate and dissolve, suggesting a force that moves through each individual canvas. “This happens in the reflection of water, sound waves… it’s in the lines we see in stock market graphs, it’s everywhere but we don’t really see it, yet we’re affected by it.”

Over four decades, Koop has translated observation into poetic visual articulation. Reflecting on a socially-isolated present, Koop recently came to the realization that nearly all of her work to date constitutes a practice of painting portraits of uncertainty: of the past, future and the present. “Like the landscapes,” Koop explains, “these are portraits of the everyperson: this construct of mask stripped bare, like an archetype of now.” Here, Koop deploys colour and mark making to conjure forces of energy, fusing representation and abstraction, seen and unseen, and emotional and artificial intelligences.

Night Gallery is pleased to present In the Garden, a solo exhibition of new paintings by Michelle Rawlings.

Rawlings’ newest paintings are taken from photographs from the runway show for Virginie Viard’s Spring 2020 haute couture collection for Chanel, held at the Grand Palais in January 2020. Reveling in the collection’s overt homage to French Impressionist painters, Rawlings reinvents these contemporary photographs in the manner of the 19th-century works that inspired them, as if restoring this imagery to its place in history. The repeating framing of the close-cropped compositions, however, is distinctly informed by contemporary photography, as suggestive of Vogue magazine as the French salon.

Rawlings’ practice is not characterized by a signature style or a recurring subject; rather, each series assumes its own distinctive approach, responding to the dictates of genre and the artist’s personal attachments to her subjects. Taken altogether, Rawlings’ disparate works evoke the incoherent stream of images that populate our daily experiences, hearkening in equal parts to the space of the museum and to the digital mood board, paying equal reverence to both. Rawlings embraces the terms of each new project without irony, finding authenticity in the dispensation of style and offering the suggestion of a holistic worldview. The works speak to our ability to live vicariously through images. An exploration of the feminine psyche and the theme of coming of age are touchstones of the artist’s body of work, though they are taken up anew within each series, without a singular vocabulary.

There is a deadpan quality to Rawlings’ work, which invites and rejects analysis simultaneously. The paintings elide the commentary that is expected of them within a contemporary gallery context, bringing the viewer back to an experience of perceptual transcendence. They ask to be experienced like couture, testaments to the handmade and its ability to capture the imagination.

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stone island: storia

Since its inception in 1982, Stone Island has acquired a worldwide cult following for its cutting edge outerwear. Neither fashion, nor luxury, nor streetwear, Stone Island has combined the elements of all three into a unique mix that has resonated with the Milanese paninari, the British football diehards, and the North American hip-hop fans alike.

In the world where brands latch on to culture, through its almost four-decade existence Stone Island influenced it. At the center of Stone Island's success lies its relentless pursuit of excellence in design, and uncompromising spirit of experimentation with fabric treatment and dyeing techniques. This product-oriented stance has secured the brand's unique place outside of fashion's hierarchy.

This monograph captures the story of Stone Island, combining its history and ethos into one source. With never-before-seen images and three major texts, it is intended for both diehard fans of the brand and those who have recently approached the world of Stone Island.

With introduction by Carlo Rivetti and foreword by Angelo Flaccavento. Texts by Eugene Rabkin with contributions by Paul Gorman and Jian DeLeon. Creative Director: Simon Foxton/& Son. Published by Rizzoli New York. English text.

The hard cover edition is available in selected Rizzoli stockists. A special cover with slipcase and a poster depicting the history of iconic Stone Island badges is exclusively available at Stone Island stores and websites.

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Maisie Wilen

L.A. based designer Maisie Wilen is a Parsons School of Design graduate and assisted Kanye West at Yeezy before launching her eponymous label in 2019. Maisie’s body-skimming designs already has a cult following with her mix of ‘90s references, psychedelic prints, and sporty silhouettes cut from technical fabrics. 




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It’s no doubt the Game Royal colorway is one of the most coveted colorways on the Air Jordan 1. While the Low released in the theme this year, the AJ1 Mid will also feature the same design but exclusively in women’s sizing for the upcoming “Sisterhood” collection. Although the sneaker features the usual Game Royal theme, it also features new detailings to differ the design from the OG. Calling for white leather on the toes and side paneling. Game Royal overlays cover the toes, forefoot, ankles, and heels while black paints the eyestay and Nike Swoosh overlays. easily the highlight of the design, laces are interwoven throughout the design in black, white, and blue. A white midsole and black rubber outsole are placed underneath and finish off the new offering.


If you’re interested in the Air Jordan 1 Mid SE “Sisterhood,” the sneaker will be releasing next month on October 15th, 2020 via select retailers and Nike.com for $125. Official images are provided below for you to enjoy while we wait for any more updates on this release and more of the latest sneaker news.

Air Jordan 1 Mid SE “Sisterhood”
Color: Game Royal/Black-White
Style Code: CV0152-401
Release Date: October 15th, 2020
Retail Price: $125


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Lost House by David Adjaye features black interiors and bedroom with a pool



Black walls, built-in raw concrete furniture and a fish pond in a lightwell define Lost House, a residential project designed by David Adjaye in London's King's Cross, which has recently come on the market.

Royal Gold Medal-winner Adjaye, the founder of Adjaye Associates, designed Lost House in 2004 for fashion designer Roksanda Ilincic and her husband Philip de Mesquita.

Living room of Lost House by David Adjaye

Top: the swimming pool. Above: a central lightwell holds a fish pond

The house has come back on the market recently, granting an opportunity to see the interiors of one of the architect's early residential works in detail.

Original features have been preserved, including an all-green sunken cinema room and a water gardens in planted courtyards that double as lightwells.

Concrete bench and fish pond of Lost House by David Adjaye

A courtyard garden in a lightwell

Hidden behind an unassuming brick facade in an alleyway, Lost House was formerly a delivery yard complete with a loading platform.

Adjaye Associates turned the concrete loading platform into a plinth for an upper-level swimming pool with black-painted sides next to the pink-walled main bedroom.

Kitchen with concrete counter tops in Lost House by David Adjaye

The ground floor is an open plan living space

On the ground floor, there is a large open plan living, dining and kitchen area with a double-height ceiling.

The sunken conversation pit with a cinema room-style projector, complete with zesty lime walls, built-in bookshelves and wide sofas, is off to one side.


Raw concrete countertops are part of the kitchen

Three tall, glass-walled lightwells stretch up to the black-painted timber eaves of the roof, bringing natural daylight down into the room instead of windows.

In the centre of the living area is a lightwell filled with a fishpond.

Green sunken cinema room of Lost House by David Adjaye

A sunken conversation pit is entirely bright green

The square courtyards in the lightwells are planted with tropical greenery. At the back, next to the kitchen, the courtyard features wooden decking around clusters of circular concrete benches inset with the same grey pebbles that surround them.

The black chipboard walls, ceiling and exposed timber beams are reflected in the shiny black resin floor.

Courtyard garden of Lost House by David Adjaye

Concrete benches in the courtyard garden

Adding to the industrial look are the thick concrete elements of the built-in kitchen, which forms a continuous countertop and splashback.

A concrete element continues from the kitchen to the living area, were it forms a low bench upholstered in black leather cushions.

Sinks and pool of Interiors of Lost House by David Adjaye

Black walls and floors around the pool and bathroom

Steps lead to the raised ground floor, where the old loading bay plinth supports the lap pool. Black stone tiles surround the pool, which is part of the master bathroom for the main bedroom.

Two stone sinks sit on a concrete shelf below mirrored cabinets. A wet-room style shower allows the residents to wash before and after swimming.

Pink main bedroom of Interiors of Lost House by David Adjaye The master bedroom is entirely pink

This bathroom connects directly to the back of the master suite, which has a separate toilet and a long corridor connecting to the stairs. The bedroom is decorated all pink to contrast with the ink-black interiors

A second bedroom is located on this floor, with a third bedroom located up on the first floor that is currently being used as a home office.

Office of Lost House by David Adjaye

An upstairs room is a work from home office

David Adjaye founded Adjaye Associates in 2000 and began his career designing high-end residential projects in north London such as Lost House. Other notable all-black houses by the studio include Dirty House and Sunken House.

Photography is courtesy of The Modern House and United Kingdom Sotheby's International Realty.

Read more: 

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