Hair

38

39

50

PETER CAIRNS

51

I know you want all the characters to be part of the same tribe, but when I look at the photo of Raquel [Zimmermann] with that big loaf of hair on her head, she looks like something out of a painting by an old Flemish master. Then there are shaggy pretty boys and girls who could be from now, and the heads that look like Atlantean aristocrats. If they’re all part of one thing, I guess they could be seen as the historical evolution of an idea, from past to present to fantastical future. But really, the most coherent thread I see is defiance of gender. Which is always very appealing to me. Gender blurring is what I like most in style. All my icons are people who did it, and I think it’s very much something you see in the street now. But I’ve also always been inspired by how Lee would put historical references—the grandness, pomp, and ceremony—in his shows, but use them with a punk attitude, putting Madame de Pompadour next to a girl with spiky hair. A different period but the same peacock quality, the same ostentation. I think now that punk is thirty-plus years old, you look at those street pictures and they could be classic dos. The style is so amazing.

91

KIRSI PYRHONEN

98

99

A L L A K O S T R O M I C H E VA

102

103

COLE MOHR

149

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