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The cat's long ago leaped out of the bag that we're all consumed with Rozae Nichols' vivid and rhapsodic Clover Canyon concoctions. In fact, we've had no shame in rocking them head-to-toe! For spring '13, Nichols spritzed her prints with sand-drenched scenes and glitzy ganja collages that were fit for a gallery girl's everyday 'drobe and even to box up and emblazon on her walls. So, it's perfectly logical that the veteran L.A. designer would tap an actual artiste and local indie exhibition space, LAXART, to create her fresh and smartest-yet set of textiles.
A painter, illustrator, and sculptor extraordinaire, Alexandra Grant's pieces have dazzled the spaces of MOCA and LACMA — and her new body of work, titled "Century of the Self," is the perfect springboard for a collaboration with Clover Canyon. Grant's text-based renderings focus on the idea of self and the body, and each ensemble was created in a process of layering meant to replicate the method of how we materialize versions of who we are. You'll find philosophical phrases like Antigones' "I was born to love not to hate" on totes and T-shirts, mingling with bold political references from the likes of Audre Lorde. Click through to see why Grant's been dubbed a "radical collaborator" in the art world, and now in the fashion world, too.
Growing up, I was extremely conscious of the fact that my thick legs didn’t resemble the pin-thin limbs of my classmates. “Blessed” with my mother’s genetics, I had muscularly fatty thighs and bulging calves that my ancestors would have been thrilled to own, but I abhorred. Add to that a fleshy stomach that never read
Alexis Lloyd brings up a solid point with the unveiling of an archival tool she developed for The New York Times: "News publishing is an inherently ephemeral act." The tool itself is called Chronicle and it traces the usage of virtually any word or phrase one enters, as it appeared throughout the Times' now 162-year-old read