UPDATE 13 JANUARY 2020: The release of AIR DIOR in low version has been announced. A total of 4,500 pieces will be available for purchase from next April in Dior boutiques around the world.
The haute couture brand Dior, after the announcement of the collaboration with the streetwear brand Stüssy, comes back to surprise us with a new collaboration. It is nothing less than a partnership with Nike. During the fashion show held yesterday in Miami, art director Kim Jones unveiled the first silhouette in the collection, theAir Jordan I High OG Dior.
To mark the 35th anniversary of Air Jordan and the first debut of the Dior men’s collection in the United States, this limited edition Air Jordan 1 High OG underlines both the timeless charm of the sneaker and the unmistakable touch of the luxury brand.
With this collaboration, once again the world of haute couture and sport come together to create a new look. The result is a perfect balance in which the charm of the iconic Jordan I is combined with Parisian elegance.
The collaboration offers a new image that combines sporty style with streetwear until it becomes a luxury product. It also pays tribute to the unmistakable iconography that distinguishes the two brands. The shoe will be made in Italy according to the standards of excellence and will be produced with a fine material or calfskin leather that characterizes the leather goods of the House.
A remix of the iconic Jumpman Wings logo is imprinted on the upper with the words “AIR DIOR“. The Swoosh is made from Dior Oblique jacquard, a unique motif that simultaneously represents both of the leading brands in their sector. The same weave is resized and laser engraved on the insoles of the shoe.
The limited-edition Air Jordan I High OG Dior will be available from April 2020 in selected Dior boutiques.
It only took us a few seconds on his Instagram profile to fall in love with João Marques‘ shots, a photographer from Lisbon.
If we had to find a word to describe his photographs, it is contemplation, linked both to the subjects he takes and to the spectators. In fact, many of his images depict figures seen from behind with their eyes pointing towards the sky, at night, during the day, at sunset, full of stars or illuminated by the city lights. Like them, we too are completely enchanted by his work.
We asked João Marques a few questions and he told us how his passion for photography was born.
Tell us how you approached the photograph. Is there a particular moment that you remember?
It started when I was around 13, at that time I asked my dad to try out his digital camera, it was an Olympus and it was pretty cool to me. I started taking mostly portraits of my friends and it kinda was something that always sticked with me through the school years. I was living in a really small town and photography turned into my hobby, I was always filming and photographing my friends. When I was 17 I moved to Lisbon to finish high school and in the following year, I went to film school. In those 3 years, I focused mainly on cinema, I was watching a lot of movies and pretty much discovering my passion for cinema. Only in 2018 after finishing my degree and directing my first short-film ‘Incomum’ I stopped for a moment and thought it could be a cool idea to get some more serious knowledge on photography since it was part of my life for so long but never consciously. I went to Ar.Co and did a 1-year course and that’s when I started to do it again, and I just kept going.
What does photography mean to you and what do you try to tell through your shots?
I work most of the time by instinct, so there’s not that much of a reflection behind my work. At this point, something I understood about myself is that I have a need to create and express myself artistically in some form. I love that photography gave me this opportunity to produce instantly, create an idea or express my perception of a feeling on an image. For someone like me who already has a background also in the film world, where everything is much more complex and involves a lot of people, photography gives me the chance to make almost like a mood board to how I want my films to look and feel like.
What equipment do you use to shoot? Which tools do you take with you when you shoot and why?
I shoot both analog and digital. My digital camera is a Sony A7 III and my film camera is Pentax K1000. It’s funny because actually I’ve never had other film cameras yet (besides point and shoot ones). I’ve been thinking about moving to a 120mm camera but for now still sticking with this one. I don’t like to do very much planning, so I guess most of the time I don’t take anything else besides the camera. If I take something it would be a small light or some prop that I would like to use on the shot.
Is there a shot you are closest to? Can you tell us about it?
If I had to choose one image, maybe this one. This image was taken around 2 am on January 1, 2019. This was the day where I started this series that I titled ‘the sky is a painting’ of night shots. This one represents all the other similar night images that I’ve done. I’ve always felt connected to night time and the sky. I used to stare a lot at the sky and have one of those moments of realizing how small we are. I like to play with this idea of the human vs universe. I would like to do in the future a photo book with all my night atmospheric shots.
Are there artists you follow or are you inspired by?
Sure. There are some other photographers I follow through social media that I find inspiring, mostly I think what attracts me is a personal point of view of the world and life. Some artists I highly recommend taking a look are Mia Novakova, Maya Beano, Tristan Hollingsworth and Edie Sunday for example. However, I think what I’m mostly inspired by is movies. Some filmmakers that have inspired me are David Lynch, Jonas Mekas, Teresa Villaverde, Wong Kar-Wai, and Robert Bresson.
The scent of the sea, the beaches crowded in summer and deserted in winter. This is the essence of the photography of Mònica Figueras, a young Spanish photographer we have already talked about here before.
Mònica was born in Palamós, a small and beautiful town on the Costa Brava, one of those classic villages that fill up with people in summer and empty completely in winter, becoming almost unrecognizable.
This double personality of the place where she lived until she moved to Barcelona and her love for the sea are tangible things in her photographs. Looking at her images one breathes nostalgia for the summer, but also the calm and tranquility of empty beaches that lose the warm colors typical of the summer months and are covered with a less saturated filter.
Since the places and subjects that Mònica Figueras photographs have always been part of her life, browsing through her shots is like entering her personal diary. We look at what she looked at, we are surrounded by what was around her when she was shooting.
After a while, her style started to interest several clients, so for her commissioned work she prefers digital photography, while for her personal projects she often opts for analog, which allows her to obtain better textures and colors without having to retouch the image afterward.
It is difficult to shape fear. Not only because it is not tangible, but above all, because it is difficult to understand what you are really afraid of. Perhaps, however, you can fight it by celebrating what embodies all its opposite, carefreeness, freedom, lightness. Audrey Gillespie has decided to face her fears armed with a camera.
Audrey Gillespie is a young photographer from Northern Ireland who, through her shots, does not want to take us into distant scenarios and imagery, but wants to accompany us into her world.
After having realized an entire project on the queer reality of her country, today, through her latest work entitled This Hurts, she transports us into a young world, through which we can breathe and live different moods, from obsession to liberation, arriving to the fantasy.
His shots are dark, but never gloomy, taken at night, sometimes in the streets illuminated by the lights of street lamps, neon lights, signs, others in the intimacy of small apartments. They are moments stolen among thousands of other moments, they are the looks and faces of boys and girls who, like Audrey Gillespie, like all of us are afraid. But afraid of what? Of everything.
This Hurts is a series of photographs in 35 mm, from which Audrey Gillespie’s personal taste, her fragile and vulnerable view of the world, stands out.