Tuesday, July 8, 2014

The #GIRLBOSS of Nasty Gal

The #GIRLBOSS of Nasty Gal

Photo courtesy of Nasty Gal
Photo courtesy of Nasty Gal
In only a few years, Nasty Gal has grown into an online retail phenomenon with a progressive fashion-forward following and over a hundred million dollars in revenue annually. The company developed from humble beginnings when its founder and CEO Sophia Amoruso was working at the Academy of Art University in San Francisco and selling vintage clothing online.
“In 2006 I was working at the Academy of Art University’s 79 New Montgomery Street building, checking student IDs and directing them to the correct floors. That was were I discovered, during some late nights, that I was getting requests on my MySpace page from eBay followers for the vintage clothing that I was selling. I held the Academy of Art University job for about three months. I was 22 and had never held a job for longer than that—that is until I started Nasty Gal. I love the photographer Diane Arbus and I wanted to go to art school myself, but it was so expensive that I never made that happen. So I decided to leave my job at the Academy and start Nasty Gal,” says Amoruso. Were the Academy students were well behaved? “Yes, they were, they were very nice!”
The New York Times stated recently that, “if ever there were a Cinderella of tech, Sophia Amoruso might be it.” Having created a cult following with her early vintage venture on eBay, Amoruso saw a tipping point, realizing she was on to something bigger.
“I was on one of my frequent buying trips to LA. I was buying vintage there mostly and I was watching the bids on eBay for my vintage. One day I made $2,500, and I’d never made that much money before. I thought, ‘Oh my God! I’m rich!’”
Amoruso is passionate about evolving her creative team and the Nasty Gal brand, and she continues to be deeply involved in every aspect of the business. Amoruso’s team is clearly on board with the Nasty Girl message and aesthetic. “No one is joining the company and thinking ‘this is my thing,’” Amoruso says.
Sophia Amoruso, photo courtesy of Nasty Gal
Sophia Amoruso, photo courtesy of Nasty Gal
Where does Amoruso see Nasty Gal in ten years time? “We have a big brand, but the awareness is not there yet and the (brick and mortar) stores are definitely not there yet.”
With the opening of the first ‘brick and mortar’ Nasty Gal store in Fall 2014 that’s all about to change. When asked if there are any retailers in the history of fashion that Amoruso admires and might influence the way Nasty Gal interprets physical stores, Sophia cites BIBA, the iconic 1970’s London fashion store that has been described as “A jumble Sale In The Pleasure Dome of Kubla Kahn.”
“BIBA had incredible taste and felt special. When you shop today everything feels very commercial,” says Amoruso. Although Amoruso hopes to capture the special, custom feel that BIBA had, the humorously nicknamed ‘BIBA Saturdays’—the day when every young person would go to retailer and shop lift—is definitely something Nasty Gal does not want to encourage in its own stores. Nasty, but not too nasty!
Amoruso recently debuted her highly anticipated book titled #GIRLBOSS, and was named “Fashion’s New Phenom” by Forbes magazine. #GIRLBOSS a highly personalized story that offers her insights on entrepreneurship and career advice for young women.
What does Amoruso hope will be the big ‘take away’ from #GIRLBOSS for Academy of Art University students?
“That the straight and narrow is not the only way.  Be the best version of yourself. Don’t compare yourself to other people.”
Written by Keanan Duffty - See more at: http://www.fashionschooldaily.com/index.php/2014/07/07/the-girlboss-of-nasty-gal/#sthash.a0hVD7PR.dpuf

Monday, June 23, 2014

Jamie Reid - Time For Magic

Time For Magic

Jamie Reid
21st June - 6th July
Public opening Summer Solstice
21st June 3pm - 7pm 
Isis Gallery at Regency Town House, BrightonNavajo dancer and shaman Dennis Lee Rogers performing welcome dance at Jamie Reid:Ragged Kingdom installation 2011

Isis Gallery is very pleased and proud to present at the Regency Town House in Brighton a new installation of work by the world renowned British artist Jamie Reid (b.Croydon, 1947). Time For Magic features ritualistic hangings and objects arranged around a tipi - a shelter, a community space, a condensed Temporary Autonomous Zone. Within the tipi sits the Eight Fold Year book, an instruction manual and guide to the mysterium. Including work from the late 80’s to the present, Time For Magic sits within a sequence of installations by Reid that combine the old and the new, ignoring the rules of ‘market’ and the need for fresh product. Certain totemic hangings - including Universal Majesty Verity Love Infinite (1989, acrylic on unstretched canvas, 234 x 237 cm) - have been used both in rituals and exhibitions, attesting to their power and gaining energy as they accumulate age.

Central to the installation however are the function and tools of cleansing and nurturing rituals that refer both to Reid’s work with the Visual Stress performative art group based in Liverpool in the 90’s and the development of Brunswick Square itself, much of which was funded from plantation profits and compensation following the abolishment of slavery (Visual Stress performed vimbuza rituals around Liverpool to counter the negative energies accumulated through historical and geographic connections with the slave trade). Time For Magic also features work on slate, glass receivers and a number of loosely painted canvases that are the product of more automatic processes, trans-temporal geographies and altered states, reminding us that visions are indeed everywhere.

Reid continues to champion the people, the 99%. Recent work in support of the Occupy movement, the Free Pussy Riot campaign and now the anti-fracking movement has built on a reputation strengthened in the 90’s with his allegiance to the Reclaim The Streets and Anti-Criminal Justice Bill campaigns. We are at an astonishing moment in the history of Capitalism when not only the people but the economists sense that something has to give. It is time for change. TIME FOR MAGIC!

Jamie Reid’s longstanding practice as an artist sits firmly within a tradition of English radical dissent that would include, for example, William Blake, Wat Tyler and Gerrard Winstanley. The work of dissent must offer, out of necessity, other social and spiritual models and Reid’s practice is no exception.
Although Reid is known primarily for the deployment of Situationist strategies in his iconic work for the Sex Pistols and Suburban Press, the manifold strands of his art continue that work whilst showing us other ways in which we can mobilise our energy and spirituality. It is this dialectic between gnosticism and dissent that lies at the heart of Reid’s practice and makes him one of the great English iconoclastic artists.
Ragged Kingdom: The Incomplete Works of Jamie Reid at Galleria Civica di Modena September 12th 2014 - January 6th 2015
For more information and press requests please contact John Marchant at
john@isisgallery.org or (44) 07906275098
Isis Gallery at Regency Town House, 13 Brunswick Square, Brighton BN3 1EH
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