A Mile in Sebago's Shoes

Blogs are often heralded as a good way to get a name, idea, product or opinion “out there.” Yet, for a group of influential male style bloggers – Marcus Troy, William Yan, Joshua Kissi of Street Etiquette, and Greg Weinstein of Culture Shoq – blogging has presented them with the opportunity to leave a quite tangible mark in the world of men’s style and fashion.

Working with shoe designer Ronnie Fieg, and through “adventure” shoe manufacturer Sebago, the gents were engaged in the process of redesigning and reconstructing classic American footwear (such as lighthouse boots and docksides). The designs, to be infused with their own personal sense of style, were assembled at Sebago’s manufacturing facility in the Dominican Republic under the banner of “the Nexus Project.”

Collaborations are nothing new in fashion, so this does not imply a sweeping democratization of the world of men’s wear. It does, however, highlight an interesting experiment in the transformation of style savvy opinionators into empowered “prosumers” (in the Don Tapscott & Anthony Williams Wikinomics sense). Furthermore, as a marketing strategy, it could be ingenious in advancing awareness and interest in the Sebago brand through mobilizing the designer’s blog followers.

For more info see the video by Jake Davis, and keep tabs on this or their blogs to see the designs when they are finally unveiled.

This Season's Hottest New Placards...

...Well, not really, but while watching the G20 demonstrations on TV I was reminded of this placard that I photographed in Montpellier, France during the daily protest. The inherent, and objectionable, violent connotation aside, a three-dimensional sign of Sarkozy filled with green blood is relatively inventive.

Pioneer of the Cool

As one’s stylistic tastes mature, one’s relatively low-priced denim preferences tend to shift from your American Eagles, Gaps, Guess’ and other brands that rely on contrived concepts of fashionable cool, to brands that have earned their identity through blood, sweat and generations of legendary figures. Levi’s has been producing denim clothing since the 1870s, when it was used primarily for labour, with the copper rivets punched into the material in places where wear typically occurred (around the pockets, crotch). Though introduced in the 1920s, Levi’s modern jeans became the official jeans of youth subculture in the latter half of the 20th century, being the bottoms of choice for everyone from greasers to mods, to hippies, to punks.

Denoted by numbers coded in the 500s, Levi’s offers a wide array of fits that has serviced each of these subcultures and more, from punk skinny 510s, to “dad-jeans” 550s, bootcuts 517s, and the brand’s iconic, stand alone, 501s. Though Levi’s tend to fade in an out of popular tastes, particularly among modern youth, it is never too far from the fashionable fore, and always remains as constant as the symbolic chevron sewn onto the back pockets.

Reinforcing its role as the longstanding lower half of the official uniform of undeniable style, Levi’s has recently initiated a unique promotional campaign under the banner of Levi’s Pioneer Sessions. Working with a number of today’s most interesting/talented musicians, the Pioneer Sessions engages these artists in the re-crafting of classic songs that have helped define Levi’s continuing era of cool. These songs, freely available for download, include Ernie Hines’ “Our Generation” (covered by John Legend feat. The Roots), Norman Greenbaum’s “Spirit in the Sky” (covered by Jason Mraz), and even the Smashing Pumpkins’ “Tonight, Tonight” (covered by Passion Pit). Additional featured artists include Raphael Saadiq, the Swell Season, and Nas.

Now, of course, variety is necessary, and one must not solely pledge allegiance to the Levi’s chevron, slips are permissible. After all, even Gap, founded in 1969, started as hip San Francisco store that sold only Levi’s and LPs.

Glen Hansard and Maria Irglova of The Swell Season.

Wooster Collective: Online Gallery of Art on the Edge

Street art and culture jamming is by no means a new or culturally specific phenomenon. Excavation at Rome's fallen city of Pompeii has revealed graffiti scrawled on walls or commentary etched over top of various political or commercial announcements. However, with our continually, and undeniably, commercialized world, the proliferation of various sorts of culture jamming and street art becomes a refreshing alternative to the monotonous drone of the regular promotional noise in our daily experiences.

Though street art and culture jamming are mutually inclusive, they do exist as seperate ideas. Whereas each involves the creation of a public piece of interest and often through the use of pre-existing materials or structures, culture jamming typically takes the form of "subvertising," and creates a commentary, often critical in nature, directed towards an existing organization or group.

The Wooster Collective, named for a street in NYC's SoHo, has, since 2003, documented global instances of both street art and culture jamming, including anything from photos of specific works, interviews with specific artists, and even instructional videos for specific techniques, such as "tape art." Ranging from the whimsical to the witty, Marc and Sara Schiller's Wooster Collective has amassed such a vast collection of documented works that in August 2009 a YouTube channel was devoted to the Collective's videos.

Though we are now quite far from the 19th century styled Salon approval of "official art," the works and artists featured on the Wooster Collective are still frequently considered as existing on the periphery of the art world. Nevertheless, it can be said that the continuation, documentation, and accessibility of the various types of street art and culture jamming, from sites such as Wooster, provides us with a much needed, creative and inspirationally rebellious break from our world through challenging the daily mundane.

Space Invaders mosaic piece, by French street artist Invader. Photographed in Montpellier, France.

The End of an Absolute Person

"We can't all be stars because someone has to sit on the curb and clap as I go by"
- Sebastian Horsely

As is stated in not as many words, a common thread among posts on this blog are how the article's subjects impact the notion of individuality. Particularly in this day and age, and particularly among progressively younger generations, individualistic entitlement abounds. Yet, the question must be begged whether this idea of being a personalized island truly exists, or if it is merely an idea, and an often destructive one at that.

Moreover, the question must also be begged, is true individualism self-destructive? For one to truly march to the beat of their own drum, must this also assume that they will eventually march themselves to their own end, or at least, to their own obsolescence. For lack of better phrasing, self-preservation does tend to be more of a concern for the mainstream.

I pose these questions only because last week saw the passing of someone who was as close to iconoclasm as they come, British artist, writer, and self-proclaimed dandy Sebastian Horsely, 47. To be perfectly honest, I scarcely knew of Mr. Horsely, before I found myself in my kitchen last Friday morning listening to Q on CBC radio and hearing host Jian Ghomeshi announce his death (suspected drug overdose) and then replay an interview with him from spring 2008. I recall the incident from 2000 when he had himself crucified in the Philippines, but beyond that I knew very little.

In fact, few in North America could probably say they knew much about him, and it most likely did not help that he was banned from entering the United States in 2008, to promote his memoir (Dandy in the UnderWorld), on charges of moral turpitude. Let alone the fact that many prominent modern artists tend to fall outside the realm of (to coin a new phrase) "Household Nameism," Mr. Horsely's unapologetic tastes and lifestyle tended ensure that as far as more popular common culture was concerned, and particularly in this side of the world, his name was not frequently used.


Nevertheless, here was a person that lived a life as true to their own being as can be. In the end, his own choices may have out done him, but perhaps this is an essential component of living a truly iconoclastic and inidividualized life. Your own end, in the end, is a consequence of your own choice.

For the sake of further defining your own life in relation to those around you, and in celebrating the life of a nearly true individual, pick up his memoir and indulge in his "depraved and morally corrupt" wisdoms.

An Online Game Played in the Real World

Geo-social networking site Foursquare is now a little over one year old and playable at any location worldwide. Though originally providing its location based service to only roughly 100 metropolitan areas, anyone can now "check-in" at any location internationally through the use of a smart-phone application, text message or checking-in online. With mild similarities to popular social networking sites Facebook and Twitter, Foursquare differentiates itself by making an online game out of the real world.

Going to the cafe down the street? Check-in online. Is that cafe a site-specific venue in your city? If so, you might earn a badge. Have you now been to that cafe more times in the past week than anyone else? You are now its online Mayor. Through travelling to, engaging with and spending time at real locations, Foursquare players compete by encouraging real experiences.

The competitive aspect aside, what makes Foursquare truly unique as a social networking site, is that all of its social networking takes place face to face. Criticism is often heard that though Facebook and Twitter may connect people, they do little to produce the real, interpersonal interactions that modern society is so often accused of lacking. Foursquare, on the other hand, encourages people to not just engage in location based competition, but to meet up with friends, share a location, or join a friend for a drink upon noticing that they have once again "checked-in" at that cafe down the street.

Though it is reminiscent of those times when you might coyly put something in your Facebook status (for example) like "studying hard at the library, 3rd floor, 8th desk on the left near the window," but really mean "please, please, please come visit me, distract me, take me from this hell," through Foursquare, you unabashedly make your location known for the purpose of social play. And though some may feel that frequently letting people know of your whereabouts may encourage real world "creeping" (also known as stalking), well then, simply don't check-in if you don't want to.

Though it is now internationally available, Google Trends shows that Foursquare is still relatively unpopular in Ontario. Despite ranking third in searching trends, the majority of top searched cities are in British Columbia, and only one is an Ontario urban centre, and it is not even Toronto, a city that tends to be on the trend-edge (or thinks so). With Foursquare's inherent capabilities to inform, mobilize and foster greater social interactions, here's hoping that it begins to catch on more locally.

Imagine using Foursquare to make a game out of, and encourage more people to come out to, events such as the recent Open Doors Hamilton. Checking in at the Blue Grotto (pictured left), the nearly forgotten lounge located above the Capri, and motivating friends to either meet you there, or try to track you down as you visit other sites.

Munny Munth!

The Munny is five years old this June, and Kid Robot is celebrating its customizable vinyl action figure with some sweet deals and contests.

Founded in 2002, Kid Robot specializes in designer toys, among the most famous of its product selection are Dunnys and the aforementioned Munnys. Mimicking a hybrid of cartoon animals and graffiti/stencil art characters, these figurines, which can be acquired in a variety of sizes and colours, are part of a broader collection that includes Trikkys, Raffys and Rooz'. Typically Dunnys are bought predesigned, but Munnys, Trikkys and others come blank, ready to be designed by the owner.

In celebration of the Munny's birthday, Kid Robot has declared June to be Munny Munth, and deals such as "buy one Munny, get a mini-Munny free" are being offered at most Munny retailers.

Here in Hamilton you can find Munny's, and the birthday deal, at Mixed Media located on Cannon St. and James St. North, and what a better time to go check them out than tonight! Being the second Friday of the month tonight is the June 2010 edition of the monthly James Street North Art Crawl, wherein Mixed Media will be displaying Munnys designed by various local artists.

Among the Munnys featured tonight will be those designed by yours truly. Starting last spring, I thought it would be a fun project to design personalized Munnys for friends and family on their birthdays and other special occasions. To date I have done about 15 or 16, and a photo collage of 12 of them will be set up at the store. Additionally, given that I took advantage of the "BOGO" deal, before the day is done I will design, paint and set up a big Munny (pictured above) to accompany the photo collage. What will it be? Good question, I have no idea yet, so make sure to get out to the Art Crawl tonight and check out the Munnys at Mixed Media!

And for extra interest, simply Google image search "munny" and check out the insane designs that people have come up with all over the world.

My favourite of the Munnys I have done, this is my baby cousin George.

"These aren't the Fly Kicks You are Looking For"

Ask any fan of Star Wars/child of the late 70's and early 80's "what happened at the Mos Eisley cantina?" And you will be regaled with tales of bargaining for a trip to the Alderaan system, aliens that look like devils, a farm boy being threatened by space pirates, and bounty hunters being pre-emptively shot under a table (depending on version), if lucky, you might even be treated to a tune, one of Figrin D'an and the Modal Nodes' greatest hits.

You likely will not hear anything about Beckham, Snoop Dogg, Ian Brown, Noel Gallagher, Jay Baruchel or Daft Punk (among others). That is until now, in a new Adidas ad to be aired during the World Cup, the athletic apparel company has found promotional inspiration in events that took place "...a long time ago in a galaxy far, far away."

With seamless editing, the various pop culture figures effortlessly appear in this famous film setting, as though it were any other pub (on this world) airing a World Cup match. What is particularly interesting about the ideas inherent in this ad, is that it more or less defies typical modern marketing strategies of encouraging individualism and instead focuses on a sort of collective/generational identification with Star Wars. Though comparable to celebrity endorsements (which, obviously, it does include) this spot pushes further by recognizing a collective experiential enjoyment, if not nostalgia, for Episode IV: A New Hope, and specifically this scene.

Of additional interest is that current branding trends see firms wanting to create stories surrounding their brand identity. This begs the question, if Adidas is following this trend, then what is the story here? Perhaps it is the retro significance of 1977's A New Hope, and its era-relation to iconic Adidas imagery. In using the Trefoil Adidas symbol that emerged in the early 1970s, and tying it to the original Star Wars, there is undoubtedly an inference to the symbolic retro-cool imagery associated with the brand, immediately recalling, among other things, ringer-tees, tri-striped canvas sneakers, Bob Marley, and of course, football (read soccer).

Regardless, for any undercover geek, this is just one of the coolest things, ever... ever! Well, maybe not, but it is fun nonetheless, particularly given Adidas' dedication the strategy, to the extent of creating Star Wars themed athletic wear and packaging shoes in blister packs remarkably similar to the old action figure packaging. The whole approach simply makes me feel "strong enough to pull the ears off a Gundark" just to get at a Vader track jacket.

Hamilton Open Streets and New Urbanism: What's Old is New in the World of Urban Planning

Yesterday an Open Streets event was hosted in the James Street North area of Hamilton, Ontario. Coordinated by a number of different individuals and parties, the event saw the stretch of James, between Cannon and Burlington streets, closed to all vehicular traffic between the hours of 10 am - 3 pm. Taking the place of the regular Sunday morning bustle was pick-up games of soccer and hockey, musicians, refreshments and various other attractions. This event is among the first of its kind in this area of the city, and with a repeat in the works for September, it certainly will not be the last.

The inspiration and motivation of this event is very much aligned with theories related to New Urbanism. Emerging in the early 1980s, but with roots in the writings of resistors of American post-war urban development practices, New Urbanism is focused on the development of diverse, mixed use communities that are built around the experience of the person, rather than the automobile. After World-War II, automobile ownership ballooned and North American cities sprawled into segregated commercial centres. Dissenters, such as Jane Jacobs, author of The Death and Life of Great American Cities, decried the loss of communities and urban centres built around a variety of uses, industries and purposes. The idea was that the hyper-rationalism being married with post-war urban planning was actually occurring to the detriment of the benefits of the seeming chaos of classical urban development.

It was these benefits that the leaders of the New Urbanism movement saw as integral to the success of healthy and vibrant cities. Moreover, it is these benefits, such as walkability, diversity of cultures and industries, relative closeness of amenities and institutional necessities (such as schools), and generally self-sustaining communities that are once again becoming norm, or, at least, ironically heralded as the future. For example, Next Generation Consulting, an American consulting firm that specializes in the strategic youth development of firms and municipalities (and was brought to Hamilton to assist with topics and projects related to the Hamilton Economic Summit), identifies these themes associated with New Urbanism as central to the success of emerging "Next Gen Cities" in both the United States and Canada.

As the City of Hamilton continually looks to renew itself, and as an increasing number of its citizens get more enthusiastic about its potential future and engage in grassroots attempts to push it towards a better one, it is very much hoped that the requisite support is found in its political management.

In the meantime, it was a great event, can't wait for the next one.

An Appetite for Change

"All art is theft." A statement by Picasso and an idea echoed in the pages of Reality Hunger: A Manifesto, a new book by author David Shields.

At face value, Reality Hunger is a book composed of everyone else's words. Quite literally, the book is made up excerpts and quotes from other authors and other works, but assembled, as though it were a literary collage, to produce an entirely new and powerful work. The manifesto is a call for the advancement of literature as an art, and greater introspection into the boundaries of copyright and the ownership of culture, if not reality itself.

Literature, like film (not even touching music), as popular arts are far more governed by legality and business than they are by self-referential freedom. Take, for example, the world of visual arts, and the ability to repurpose pre-existing materials and even pre-existing works to form an entirely new, and often challenging, piece. Great and famous examples of this can be found in the works of Dadaist Marcel Duchamp, who's pieces in criticism ranged between challenging the very foundations of fine-arts to being absolute nonsense. Shields argues that this same sort of re-purposing should also exist in writing.

Though, reference is always, and has always been possible in literature, through proper citation techniques and the legalities surrounding plagarism, Shields' manifesto focuses on the assemblage of words themselves, rather than the ideas they represent. Essentially questioning that though ideas maybe protected by copyright laws, it is not truly possible to copyright the order of the words that produce the idea. As William Burroughs asked, "who owns the words?" This notion is reminiscent of the Library of Babel, the short story by Jorge Luis Borges that details a seemingly infinite library where every combination of letters, characters, and words exist to form every book, thought and idea imaginable.

Of course, still published under the modern literary practices, Shields could not produce the work without copious amounts of citations. However, staying true to his message, each bibliographical page is marked by a dotted line and scissors at its crease, encouraging the reader to simply cut the pages out.

As society produces culture at increasingly rapid rates, the necessity to interpret and re-interpret reality becomes paramount. Moreover, underlying all of this, is a call for an empowered, and often subjective, pursuit of the "real" through unguarded, societal self-reflection.