• I am beyond excited to anounce the release of London Pharaohs; our first full collection. It has been eight months since we started preparing to create our new set of designs and it feels great to finally have everything up in store. We had a couple of really fun photo shoots in and around London, with pro photographer Rhian Cox and the results are now pasted across this season's catalogue. At the beginning of September, we'll be showing London Pharaohs to buyers at the London Edge show in Angel. If the past few months are anything to go by, things are about to get real for La Mort!
    Thank you to everyone how has been involved in the making of this collection. Eight months of hard work have now paid off.  

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  • With our visual style borrowing heavily from Art Nouveau, psychedelic design and the darker side of Romanticism, there is one shadowy and mysterious group of writers and artists that we find fascinating. This group of men shut themselves away in a run-down hotel in Paris and regularly took part in long drug-induced reveries, with the intention of shedding some light on the effects of hashish on the intellectual mind. Their story is bizarre and incredible. All the more so as it took place in the 1840s.

    Having been introduced to hashish in the Orient, sometime between 1836 and 1840, French psychiatrist Jacques-Joseph Moreau became interested in its effects and their similarity to psychosis. To further his understanding in this area, he gathered some of the leading French painters, poets and playwrights of the day with the intention of observing them while they were under the influence of the drug. It was 1844 and ‘Le Club des Hashischins’ was born.

    The group would regularly gather at the Pimodan House on the Ile Saint-Louis and, once in their gothic inner sanctum, would consume quantities of dawamesk, a green paste of orange juice, herbs, spices and hashish. What followed would later inspire poet Charles Baudelaire to write ‘Le Fleurs du Mal’ and move Theophile Gautier to publish an essay ('Le Club des Hashischins’), which describes the whole fantastical scene. A few excerpts are below.

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    “To enter was to step two centuries back; time, which passes so fast, seemed not to have elapsed in this house, and like a clock negligently left unwound, its hands showed the same date always.

    The walls, paneled in white-painted wood, were half-covered with darkened canvases that bore the stamp of the period. On a gigantic mantelpiece rose a statue that one might suppose to have been pilfered from the Versailles gardens.

    On the ceiling, which arched into a dome, writhed a sprawling allegory painted with broad strokes, in the manner of Lemoine, which might have been by that painter.”

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    “The doctor’s face beamed with enthusiasm, his eyes sparkled his cheeks reddened, the veins in his temples stood out and his dilated nostrils drew in the air with force.

    “This will be subtracted from your share in Paradise,” said he, handing me my allotted dose.

    When each had eaten his portion, coffee was served in the Arab manner, that is, with the grounds and without sugar.”

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    “One, with a pale face in a black beard, was in peals of laughter before some unseen spectacle; another made unbelievable efforts to carry his glass to his lips, while his contortions to achieve his purpose produced a roar of jeers.

    Another, in nervous agitation, twiddled his thumbs with incredible agility; yet another, thrown back in his chair, with dreamy eyes and lifeless arms, voluptuously let himself glide into the bottomless sea of oblivion.”

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    “The marble is gaining ground! The marble is gaining ground!”

    To be sure, I could feel my limbs petrifying, and the marble enveloping me to the waist like the Tuileries’ Daphne; I was a statue halfway up, like the enchanted princes in the Arabian Nights. My hardened heels rang out formidably against the floor; I could have played the Commander in Don Giovanni.

    By this time I had reached the head of the stairs, which I undertook to descend; they were half-lit, and through my dream they took on Cyclopean, gigantic proportions. Their two ends, bathed in shadow, seemed to plunge into heaven and hell, both of them abysses; raising my head, I indistinctly discerned, in a prodigious perspective, countless superposed landings, ramps leading up as to the top of the tower of Lylacq; looking down, I felt the presence of abysses of steps, whorls of spirals, dazzling circumvolutions.

    This staircase must pierce the earth through and through, said I to myself as I continued my mechanical walking. I shall reach the bottom the day after Judgement Day.”

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  • Today, with all the talk of 3d visual technology, it may be easy to forget that the fascination with bringing flat images to life, started well before our own century. Now, this sort of thing doesn’t usually interest me, but mention Hell, skeletons and death and you have my attention!

    In the 1860’s a series of Stereoscopic images was published in France that, in their own satirical style, represented life in Hell. Created by at least three different artists, these images borrowed heavily from the political goings on of the day.  Scenes, depicting all manner of debauchery, were meticulously crafted in clay and then and photographed for viewing through a stereoscope.

     

    Stereoscopic images comprise a pair of identical pictures printed side by side which, when viewed through a special viewer or stereoscope, appear to fuse together into one three dimensional image. Honestly, it’s mind-blowing! 

    It appears, from the gestures of the many skeletons represented in Les Diableries, that these works of art were at least partly influenced by the 1538 ‘Danse Macabre’ woodcuts by artist Hans Holbein, as well as similar prints by other artists. Both the earlier prints and the later clay models sit comfortably within a long tradition of showing Death and skeletons as comedic characters.

    For further information on these ghoulish creations, there is a fantastic book entitled ‘Diableries: Stereoscopic Adventures in Hell’ by authors Brian May, Denis Pellerin and Paula Richardson Fleming. It can be found on Amazon and I highly recommend it.

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  • With this year’s London International Tattoo Convention over, we have a hard week ahead of us sorting through all of our stock and packing away our stand equipment. The fun is over! We couldn’t let this one pass, though, without telling you all about some of the great things that went on.

    The show this year marked the LITC’s tenth anniversary and as always, the organisers did a fantastic job in bringing the world’s best tattoo artists and traders down to Tobacco Dock. We had a lot of help this year on the stand so I managed to get away for an hour or so to check out what was going on.

    For those of you who haven’t been to this show before, it is split across two levels, with the artists working on the top floor and all of the jewellery and clothing brands etc. set up in the vaults beneath. It really is one of the best venues you could pick for a tattoo show. So, with camera in hand, I went for a wander around the upper level to see some of the artists at work. Some of the highlights are below.

    I finally got to see Lal Hardy, of New Wave Tattoo, at work. He owns the longest running tattoo studio in North London. Google him.

    Chris Crooks, of White Dragon Tattoo in Belfast, was also there working on a skull piece. Awesome artist. Check out his website here.

    Italian artist Marco Galdo, is an absolute master at geometric dot work, and when I saw him he was working on some brave guy’s inner arm. Looked painful. Check him out here.  

    Alice of The Dead was there tattooing a beautiful black and red Kali on a girl’s leg. She works at Divine Canvas on Caledonian Road and you should check her out. Her website can be found here.

    Some of the guys from Skin and Bone were there working the traditional way. Fantastic to see.

    Got to meet up with Diana Jay, a local artist from Camden who I’ve chatted with before. She’s a wicked girl and works at East Side Tattoo Studio on Brick Lane. Go and see her!

    I can’t believe we have to wait a whole year before the next show.

    I have tried to credit everyone correctly. If there are any mistakes, then send us an email and I will update information.

     

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  • An excellent concept is perhaps the most important part of any design. If a drawing or painting is created using an unclear or incomplete idea, then no amount of technique or compositional changes can save it. As well as having very clear rules on our technical approach, we also pay very close attention to the way in which we come up with our ideas. We have spent many hours reading books to gain an understanding of structure and form, but the subject and vision of each of our designs usually comes to us in an instant after reading a particular phrase or seeing a strange image.

    Distilling an initial concept into a successful, clear plan for a drawing can be very difficult. It involves many thumbnail sketches and mock-ups, and we even scrap ideas for months, returning to them when we know how to make them work. This process is certainly not for the impatient. Once we have settled on a theme, and made our initial small-scale sketches, we will find reference material to help us construct the final drawing. This can be hard if we are drawing a fantastical subject. A good example of this is our drawing Youngblood. We needed reference shots for a pair of cherubs flying and fighting. After much searching, we found underwater photographs of babies swimming, that were in the right ethereal poses.

    Many of our ideas don’t even make it to final designs, but the ones that do then go through a process of refining before we start gridding up the final piece.  

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  • New Gothic Prints

    We have been working hard to get our new designs finished and it has resulted in a slight shift in style. We have been looking at the work of E M Lilien and, in particular, his use of solid black areas. This all lead to some exciting experimentation in the studio and it's a very creative time for us. We are also excited to reveal our first two mandalas. There will be more to come.  

     

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  • We’ve been working hard this week retouching the pictures from our latest photo shoot. Now that they are ready, we would like to take the opportunity to welcome Monica, the new face of La Mort Clothing. Not only beautiful, but an absolute pleasure to work with. You’ll be seeing a lot more of her. So here is a little peak at what we’ve been up to. 

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  • When we first started La Mort Clothing in the Autumn of 2011, not only did we sell t-shirts, but we had a great collection of paper prints available on our stall. When things started getting busier and we started running out of room, we had to make a tough decision to continue with clothing alone. Well, now the prints are back! You can grab yourself a piece of our artwork, for a wicked price, that can go straight up on the wall. We have dropped them all to £10 to allow everyone to collect the whole set. They look awesome on the wall. We should know, we have them stuck up too! Check out the poster section in the store tab. Here are three of the first six:

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  • Instagram Giveaway

    If you haven't already, get yourself over to our Instagram page here and enter our giveaway. All you have to do is follow us on Instagram, repost the picture below to your profile and tag it #lamortclothing. We'll pick two winners on Friday 15 July and each will receive two free t-shirts of their choice. You've got to be in it to win it, so get involved now!

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  • In this ongoing series of articles, about the conception and realisation of our work, we hope to provide an insight into exactly how we function as a design team and where the ideas and techniques originate. In part one, we gave an overview of our design practice and the way in which we develop and use our own system of icons. In this part we hope to shed light on the importance of Romanticism and Symbolism and the part they have played in our progress.

    Though the word gothic has become firmly attached to modern music and fashion scenes, its roots stretch back hundreds of years to a time when the themes of death and tragedy permeated literature and visual arts of the time. Romanticism, as an art movement, climaxed between the late eighteenth and the mid nineteenth century, and although very broad in the subjects that it confronted, there is a strong gothic element that Faye and I are particularly interested in. The creative work produced during this period is rich with haunting and hallucinatory images of fallen cathedrals, crowded cemeteries and bleak, spectral landscapes. Sorrow and despair had become the fashion of the day.

    “I tried in vain to find The middle and the end of space;
    I know not under what fiery eye I feel my pinions breaking;
    Burned by love of the beautiful I shan't have the sublime honour
    Of giving my name to the abyss That will serve me as a tomb.”
    (Les Plaintes d'un Icare | Charles Baudelaire | 1857)

    The notable poets and painters of this incredible era left behind an exciting collection of material for anyone interested in the theme of death in the arts. The visionary writing of Samuel Taylor Coleridge and later, Charles Baudelaire read, in places, like hideous nightmares while the hellish landscape of opium use, described by Thomas De Quincey, heavily influenced our early drawings. Poison, love, loss and grief became well-trodden ground for a group of artists whose crushing fear of failure and defeat would drive many to madness and some to take their own lives. One artist in particular whose work exemplifies the spirit of Romanticism was the German landscape painter Casper David Freidrich. His canvases perfectly capture the lingering, oppressive feeling of melancholy and impending death with almost frightening clarity.

    Though the graphic style of our work seems, at first, to share little with the work of the Romantic period, it has formed the foundation of everything we produce. The recurring motifs of decay, beauty and the grotesque have become embedded in our drawings and we owe as much to the poets and painters of the 19th century as we do to any modern graphic artists.

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