And what costume shall the poor girl wear
To all tomorrow’s parties
A hand-me-down dress from who knows where
And what costume shall the poor girl wear
To all tomorrow’s parties
A hand-me-down dress from who knows where
“Wearing clothing by Pierre Cardin is transformative. His dresses make you feel like you are part of the stylish elite; part of a heroic futuristic clique.” Amber Doyle.
Fix and Fax is the newest Mens collection designed by Katya Leonovich. Leonovich, a designer best known for her couture womenswear line is also a fine artist.
WILLY CHAVARRIA is a conceptual fashion label with a cinematic approach to design and presentation.
PEACEBIRD MEN, as one of the top fashion brands in Mainland China, takes brand innovation as its core competitiveness and seeks fashion perspectives from today’s young people. It focuses on the fashion subculture of youth.
Model Matthew Bartow from Red Model Management New York photographed in vintage and designer punk/new wave inspired clothing for Ponyboy magazine menswear editorial “Neat Neat Neat!”.
Bobby West is the creative force behind the men’s line BobbyDay. West is known for providing a provocative and creative way of merging fine craftsmanship, slogans that push buttons & with his “no rules should apply in fashion” mind state.
For his AW19 collection, Robert Geller worked with his Japanese team to find ways to do what is almost impossible: Dye Wool, Nylon and cotton in one garment. The results are stunning garments with beautifully subtle color nuances and rich textures.
Our Groupie Girl vintage womenswear editorial inspired by Rolling Stone magazine photographer Baron Wolman’s super-fab book, Groupies and Other Electric Ladies. Starring young beauty Karina Ramirez from the Wilhelmina Agency NY.
SHAKE RATTLE & ROLL. Model Jake Lauria, State Model Management NY. Photography & men’s grooming Alexander Thompson. Stylist Maria Ayala.
FROM WIKIPEDIA: Dark wave is a music genre that emerged from the new wave and post-punk movement of the late 1970s. Dark wave compositions are largely based on minor key tonality and introspective lyrics, and have been perceived as being dark, romantic, and bleak, with an undertone of sorrow.
Avi Spivak is a Brooklyn based artist. You might find him working at Rebel Rouser, the record store that he co-owns with drummer Josh Styles from Daddy Long Legs and William Martin . Or you might find him djing his 45s at Clem’s bar in Williamsburg.
Every so often a mesmerizing young beauty emerges from the downtown music scene of New York City and catches our eye. A few years back we stumbled upon a band that was managed by the legendary Andy Animal, dubbed Animal Show.
80s designer Stephen Sprouse took his inspiration from Andy Warhol and the day-glo 1960s, infused with a New York City downtown punk aesthetic. As impressionable 20somethings in NYC, we eagerly ventured to his 3 story shop in Soho…
Ne Me Quitte Pas (Don’t Leave Me), our latest womenswear editorial starring red-headed Wilhelmina beauty, model Liv Solo. Ms. Solo wears designer Victoria Hayes’ Spring/Summer 2018 collection.
Luar is the eclectic, young and really fantastic menswear/womenswear/unisex line that’s designed by the fascinating talent known as Raul Lopez. His Fall 2018 Pieces of Me collection is one of the freshest things we’ve seen in ages with it’s creative cuts and twisted designs.
It’s no secret that Ponyboy worships all things from menswear designer David Hart, with his twist on 50s midcentury aesthetic presented in past collections. However, this season Hart made this statement: “This collection is really inspired by the mass exodus of American brands leaving New York to show in Paris.
“The Original Harlem Slim” – a befitting stage name for brooding bluesman Tito Deler, New York’s modern day soulful talent. Catch Harlem Slim onstage at St. Mazie, the jazzy supper club in Brooklyn, every other Wednesday night. But you’ll just have to wait until this dapper cat comes out with his next record, since you won’t be able to find any of his first pressing. Run to see this extraordinary talent and get ready to step back in time. Photography Alexander Thompson http://www.titodelerblues.com/music/ https://www.instagram.com/harlemslim/
PONYBOY: Tito, tell us the origin of your stage name, Harlem Slim.
HARLEM SLIM: “Three monkeys sat up in a coconut tree – Discussing things as they is said to be – Said one to the others, now listen you two – there’s a certain rumor going around that can’t be true. Now if you’re from Long Island – ain’t nothing wrong with that – Matter of fact I know quite a few Long Island hep cats – But the truth is plain and simple, and it will surely set you free – There can only be one Harlem Slim – mutherfucker that’s me!” – The Original Harlem Slim
I’m born and raised UPTOWN and have a lot in common with the Blues OGs in that my culture is STREET culture and my first exposure to music was the CHURCH. I took the name from a perpetrator from Long Island that held it till I came along – believing in truth and the dissemination of truth it was my duty to right that wrong – thus Harlem Slim was born.
PONYBOY: You were born and bred in New York City. What was your upbringing like?
HARLEM SLIM: I’m a first generation native New Yorker of Dominican parents. I grew up with three older sisters. One was a disco queen that never saw the wrong side of the velvet rope and taught me the hustle. The other was a rocker that let me rock her boyfriends cut-sleeves and snuck me into her band’s shows at CB’s. The youngest of the three was an original B-Girl that showed me the ropes and exposed me to graffiti in the late 70s and skateboarding in the early 80s. When Saturday Night Fever came out my sister gave me a blowout and I hung out on my stoop all day listening to Tavares and Earth, Wind & Fire. My first record was the Ramones (76), my second record was Leave Home (77), and my third record was Fonzi’s greatest hits (76). When I heard Sucker M.C.’s on Mr. Magic’s Rap attack in ’84 I knew it was fresh. In the late 80s I pushed my skateboard up the block past all the B-Boys, dealers, pimps, pushers and junkies to my own beat because regardless of our differences, it felt like home.
PONYBOY: How did you get into music?
HARLEM SLIM: My father was the super of the building I grew up in and because we come from a culture that creates music and art perpetually, folks were always getting down in our basement, with a wide range of neighbors and family in the mix. Dressed to the nines, they would turn up with instruments and records for the HiFi. In those basement jams they mostly played music from Dominican Republic, Cuba, Puerto Rico, Mexico and the still newish Salsa from the streets of Nueva York. But late at night after the riffraff blew off steam and all that was left was the compadres and comrades that had kissed and made up my step grandfather on my mother’s side, who would play his stack of jazz and rhythm and blues records. Sleeping on a bed of coats listening to the sound clash in the other room was how I got into music.
PONYBOY: What influence did being raised in New York have on you, as well as your music?
HARLEM SLIM: “I write rhymes like I come from New York City” – Afrika Baby Bam
If you REALLY know New York then you know that this city doesn’t tolerate fakes. My mentor Miss Lelly Blue taught me long ago that anything you put out there must come from your heart. Picture a man sitting up on stage singing about things he doesn’t know and playing a roll that he’s only seen on TV or read about in books…that’s clowning around – akin to minstrelsy and a damn shame since the blues liberated us from minstrelsy. As a native New Yorker I respect my audience wherever they from and I respect my ancestors that did this before me; therefore, I find it mutually beneficial to play my blues with my feeling, write songs about life and sing about things I’ve experienced. Now I’ve never been given gasoline in the place of water, but I know what a broken heart feels like and I’ll sing to you about it.
PONYBOY: Tell us about your connection to blues music specifically.
HARLEM SLIM: Blues allows me to express myself without complication – be it singing about pain, joy of a fly pair of slacks, a broken heart or love and peace I found in Jesus Christ. The blues gives me the opportunity to tell my story. Blues is at the root of all USA music that I love…so why would I mess with anything but the raw uncut funk.
PONYBOY: We’ve seen you perform at St. Mazie’s in Brooklyn and were been blown away by your performance. So tell our readers, what does your recording process entail?
HARLEM SLIM: My favorite jazz record is Cookin’ with the Miles Davis Quintet. I found it on the second floor of my building growing up and it took me many years to really dig it. Miles made that record to capture the feeling of a live performance. The true essence of jazz or jazz improvisation. I approach my recordings the same way I do my shows. I get in the spirit all the same and play blues with a feeling.
PONYBOY: And tell us your musical influences.
HARLEM SLIM: I love the blues shouters, particularly Big Joe Turner, but Son House is my greatest influence in the sense that he did everything with a feeling. You never seen Son House “dialing it in”. Another great influence of mine is Thomas A. Dorsey – the father of Gospel music. He got his start playing Hokum blues and later made the switch and composed most of the Gospel classics we know and love, nurturing talents like Sister Mahalia Jackson along the way. I also really love Sister Rosetta Tharpe who has such a rockin’ sound and sang about her faith in the Lord. It’s so good to see folks diggin’ her these days.
PONYBOY: Are there modern day artists that you follow?
HARLEM SLIM: No doubt! Soul brother numero uno Leon Bridges AKA the future of the funk is a close friend of mine who’s music I love. JD McPherson, Jimmy Sutton and the crew are a class act. I caught them recently in NYC and they tore it up! My homeboys Daddy Long Legs always get my feet to tappin! Soul queen Nikki Hill and crew are true professionals and a treat to watch. Modern blues players that I dig…The big homie C.W. Stoneking, my man Diablo Dimes, and I can’t forget the OG Jimmy Duck Holmes and the whole Blue Front crew! One of my favorite records of recent is Hurry For The Riff Raff’s The Navigator. I hope to catch them soon.
PONYBOY: Your great personal style is part of your attraction, when watching you perform or seeing photographs of you. Do you mix vintage with new clothing? Any brands that you favor?
HARLEM SLIM: Right on! I appreciate the compliment. I always perform in a suit and most of my suits are vintage purchases from Dated Vintage NY & Cavemanteeks. My fedoras are modern creations from Wellema Hat Co. in California and my Panamas from Borsalino in Italy. My everyday go is Mister Freedom – them threads just drip with style and every drop has me like a kid in a candy store. I rock some vintage shoes, but mostly for show since they don’t hold up to my stompin’. On stage and trooping around I rock Aiden’s from New England or Churches from Old England. When my feet need to rest I slip on some PF Flyers and when it’s time to make moves I throw on some fashions from Thee Teenaged. If I mix or not, I keeps it fresh.
PONYBOY: You’ve worked in the fashion industry for several years. What are your thoughts on the trend for vintage inspired menswear? Do you think it makes it too commercial or perhaps mainstream?
HARLEM SLIM: Trend makes it a little harder to find your tribe. Back in the days it was easy to pick the hep cat out the crowd by the fold of his jeans, or the cut of his hair. Today there’s a lot of snakes in the grass – more foam than coffee – but you can’t knock the hustle, you can’t hate the game. Everybody’s got to eat at every level so access and entry price points are key. I believe there will always be a separation between the commercial and the niche market – at best one feeds off the other and at worst one is devoured by over saturated market and overproduced goods. The sad side effect in this 21st century is the reality of waste in clothing manufacturing and the effect it has on the our environment, which is why I favor those vintage inspired brands that don’t process their clothes and treat mother earth with the respect she deserves.
PONYBOY: Tell us about your day job, as a graphic designer/art director.
HARLEM SLIM: I’m the VP of a team that designs men’s, women’s and kid’s graphics for Tommy Hilfiger. It’s an honor to work with such talented people on all sides of our business and share in the great success of this iconic American brand. The first talent I discovered was visual art and I am blessed to be making a living from it. Making music is a beautiful thing and also essential to my survival, but having a career outside of music allows me to make music on my terms with no ones hands in my pocket. “God Bless the child that’s got his own” – Billie Holiday
PONYBOY: You have one release from a few years back. Do you have any new music to be released in the near future?
HARLEM SLIM: I released my first record about five years ago. Recorded it myself in my bathroom on Avenue A. I made 1,500 pieces and sold 1,500 pieces. It was a perfect expression of what I was feeling at the time. Since then I’ve been busy writing and performing new material with plans of releasing my new project on the early side of 2018, this time with the support of my friends, record label and business partners Blue Front Records. It’ll be a mix of Gospel and Blues. If you follow me on @harlemslim you’ll get a taste of what to expect.
PONYBOY: And finally, any thoughts on the resurgence of music that gets labeled “retro”?
HARLEM SLIM: “There is good and bad in everyone…” – anonymous?
Some of it I like, some it is just plain corny. But the funny thing is that sometimes a kid will get into Soul music via a watered down mainstream band playing watered down radio friendly music – then start to dig a little deeper and discover artists that are really making beautiful music that just might save you someday. BUT to be clear about the term retro, my feelings are best explained by paraphrasing L.A. music journalist Kickboy Face (RIP) and ask that in reference to PONYBOY’s question the reader put the word retro in place of new wave…
“I have excellent news for the world. There is no such thing as new wave. It does not exist. It’s a figment of a lame cunt’s imagination. There was never any such thing as new wave. It was the polite thing to say when you were trying to explain you were not into the boring old rock ‘n ‘roll but you didn’t dare to say punk because you were afraid to get kicked out of the fucking party and they wouldn’t give you coke anymore. There’s new music, there’s new underground sound, there’s noise, there’s punk. there’s power pop, there’s ska, there’s rockabilly. But new wave doesn’t mean shit.” – Kickboy Face (RIP)
Young Chinese designer Calvin Luo shows his unisex collection for Spring 2018 during New York Fashion Week. Photography Alexander Thompson. http://www.calvinluo.us/
All that Glitters. This would be 16 year old model, Izzy Pawline, a fresh faced beauty from the Wilhelmina Modeling Agency in New York City. Izzy, a New Jersey girl, who happens to be a high school senior, will walk the runways during NY Fashion Week SS 2018 for the first time. Our hair stylist, Sacha Harford, styled Izzy’s tresses into a gorgeous mane reminiscent of 70s model Jerry Hall, which was perfect for the Cheng sequined disco dresses that she featured. The look was topped off with a strong eye and luscious red lips. Photography Alexander Thompson. Stylist/editor Xina Giatas. Makeup Ames Amore. Hair Sacha Harford.
We first met the Blonds years back, when they sold their denim line to edgy downtown retailer Patricia Field. They certainly progressed and show their fabulous collections on the runway season after season, their shows always attended by the most famous glitterati of the New York City downtown scene. But beyond that, what truly amazes us is the intricacy of each piece of clothing that we luckily get to see backstage before it hits the runway, something that not many people have the pleasure of experiencing. They truly are works of art! Photography Alexander Thompson http://theblonds.nyc/
PONYBOY: Please tell us about the “Mummy” inspiration for your Fall 2017 collection.
THE BLONDS: For Fall 2017 we were inspired by an upcoming film, The Mummy, starring Sofia Boutella and Tom Cruise. It was all about the power of transformation and finding yourself.
PONYBOY: We saw a lot of extraordinary elements on your runway, including feathers, pearls, crystals and amazing corsetry. Sexy over-the-top! Tell us more about the different elements in this collection.
PHILLIPE BLOND: There were so many elements in this collection. We experimented with some Preciosa cushion cut crystals. They are beautifully faceted and add a lot of sparkle to the collection! We also used a lot of signature elements of ours, like crystal metal mesh and burn-out lace.
DAVID BLOND: We mixed many contrasting elements this season. For example, the distressed denim, ostrich feather and pearl detailed denim jacket! Essentially, we took an athletic silhouette and expanded it to create a 1920s inspired cocoon coat bomber.
PONYBOY: The work involved in each of your pieces must be overwhelming. From this collection, please tell us which look was the most labor intensive and how long it took to create the garment.
DAVID BLOND: Phillipe’s finale look, definitely! It took nearly four months to make and we used over one hundred thousand Preciosa pearls and crystals!
PONYBOY: Many of the looks we see on your runway are well suited for entertainers onstage for musical or other performances. However, there are looks that seem more versatile and appropriate for the red carpet. Those looks included some stunning sequined gowns, as well as a metallic Grecian style gown. Is this a direction that you feel you will explore more so in the future?
PHILLIPE BLOND: Absolutely! This season was all about showcasing looks in pairs. Our signature pieces for performance and special occasion were juxtaposed with pieces that utilized the same materials and embroidery treatments, but made in a more wearable way.
PONYBOY: Have you thought of doing a more modified or simplified line, something more accessible to the average shopper, yet still with the flair you are known for? And have you been approached by any companies to collaborate on this level?
THE BLONDS: Yes! We have been approached several times to do this and once we find the right partner, we are very open to creating something for a wider audience. In the past we have created capsule collections with Moda Operandi, VFiles and Patricia Field; and we look forward to doing more of the same in the future.
PONYBOY: The Blonds are well known for sending their models each season in matching blond wigs down the runway. Surprisingly, this season brought a ‘no wig” look created by the talented Kien Hoang from Oribe. Tell us about this change and the concept behind it.
DAVID BLOND: The Blonds are all about inclusivity and due to the political climate this season, we chose to touch on this subject within the themes and inspiration for the collection. We feel like it’s important to express unity in creative ways.
PONYBOY: You consistently work with world famous make-up artist Kabuki in collaboration with MAC cosmetics. What is that collaboration like? Tell us about this relationship.
THE BLONDS: We’ve been collaborating with Kabuki for 10 years and he is a genius! He always surprises us with exciting ideas and is extremely detail oriented. Kabuki and the MAC Pro Team are a perfect partnership for The Blonds!
PONYBOY: You’ve been in business for over 10 years. Amazing! What can we expect from The Blonds in future collections and for this next decade?
THE BLONDS: There’s so much more to come, so stay tuned!
The Lemon Twigs are the fantastic new band from Long Island, New York, made up of young brothers Brian and Michael D’Addario. While very young, they’ve been playing some sort of instrument or another since they’ve been wee tykes! You may have seen them recently on TV with stints on The Tonight Show and CBS This Morning, or in a magazine with multiple photoshoots. Theres is a very hectic life indeed; constantly on the road touring, they are busy, incredibly busy. But these talented two took the time out of their crazy schedules for a quickie photoshoot and interview with Ponyboy. We are just nuts for the two of them and are glad we entered their stratosphere even for just a brief moment, on their path to taking over the rock ‘n’ roll world. Get ready for this band. We get the feeling that there’s no stopping them! Photography Alexander Thompson http://thelemontwigs.com/
PONYBOY: Hello, Brian and Michael. We first saw your band at a July 4th Vice music event in New York City and knew immediately that we had to feature the fantastic Lemon Twigs on our Ponyboy site! You’re brothers from Long Island. Tell us how you both started playing music at such a young age.
THE LEMON TWIGS: Our parents were constantly playing music in the house, and it was only a matter of time before we started playing. We were never interested in anything else.
PONYBOY: We read that your father, Ronnie D’Addario, was a musician in the 70s. That obviously affected your musical upbringing. Did he encourage you to play instruments and listen to music?
THE LEMON TWIGS: Our father has made records at home since the 70s and still does. Both of our parents encouraged us to listen and play music. They influenced the way we play our instruments, write our songs, and our general view of music.
PONYBOY: What was life like for you growing up in Long Island, and in high school?
THE LEMON TWIGS: I’d imagine it’s very similar to growing up in any other suburb. In high school we weren’t really outcasts or anything, just the music kids. All of our friends from school are pretty normal. I think a normal town like ours can bore you into making music that somebody who lives somewhere exciting couldn’t make.
PONYBOY: While other 17 and 19 year olds might be in high school or college partying with no care in the world, the two of you seem so focused and dedicated to your music. Is it hard staying on this path? Are there distractions for the both of you at such a young age?
THE LEMON TWIGS: That was the thing about our town, there really weren’t many distractions. I know I wasn’t invited to many parties, and if I was, I usually didn’t wanna go because I’d rather be making music. The partiers didn’t like the music I liked and I didn’t want to talk about anything else. Maybe when we really enter the music business, more distractions will come; but for now, somebody just books us shows and we play them. We’re constantly just waiting to make another album.
PONYBOY: We asked who your favorite band was during our shoot and your response was The Beach Boys. Great answer! Was that the music that was played in your household when younger? What other favorites do you have?
THE LEMON TWIGS: The Beach Boys and The Beatles were mostly what we listened to when we were kids. I guess our all time favorites include those two bands, Big Star, Leonard Cohen, Harry Nilsson, Lou Reed, Badfinger and Procol Harum. There are plenty of others, I guess. We just know the most about these groups.
PONYBOY: Your debut album, Do Hollywood, was recently released on 4AD Records. What was the recording process like for this record?
THE LEMON TWIGS: We went to Jonathan Rado’s house in LA and recorded it in his garage over a week and a half. After that, Brian did the strings and brass at home and mixed it.
PONYBOY: Jonathan Rado, from the band Foxygen, produced this record; and we also read that he discovered your band on Twitter. What was it like working with Rado on this release?
THE LEMON TWIGS: It was totally great. We’ve worked with him quite a bit since then. He’s one of our best friends.
PONYBOY: The harmonies are terrific, and there’s so much strength and layers in your music. How would you describe the music that you play in the Lemon Twigs to someone who has never seen or heard your band before? Is it pop? Is it rock?
THE LEMON TWIGS: Pop/Rock.
PONYBOY: The band has received very strong reviews from several publications. That must make you feel good.
THE LEMON TWIGS: Well, as of late I’ve heard the reception is more positive than negative and that makes me happy, but when it comes down to it I really only care about certain people’s opinions. If my musician friends like it, then that’s really all I need to be confident about it.
PONYBOY: We grew up listening to the best bands on the 4AD label. How’s it been so far being on such an impressive label?
THE LEMON TWIGS: They’ve treated us very well. I have no complaints.
PONYBOY: Seeing The Lemon Twigs perform live is quite an explosive experience – just really exhilarating and very unique. Halfway through your set the two of you switch playing drums and guitar, and the level of energy is just so extraordinary, with the high kicks. Are you inspired by any rock ‘n’ roll acts from the past while on stage? Or are you just feeling the music?
THE LEMON TWIGS: I’ve taken a lot of things from The Who in terms of moves, but the truth is our favorite musicians don’t usually move as much as we do onstage. Sometimes I just get self-conscious and think that people might be bored if I just stand there, but I’m becoming confident enough in my playing to tone it down a little. That being said, it all comes from a natural place; nothing is forced. We just can move like that, feel like moving like that, and so sometimes we do.
PONYBOY: People see that you’re both so young and stylish, and might think this early success has come easy for the both of you. Being young adds a mystique and makes people very inquisitive. Yet we’re sure this must have been somewhat of a process, with a lot of hard work, and that you’ve endured a fair amount of obstacles along the way. What’s been frustrating to you as musicians in the tough world of rock ‘n’ roll music? Do some people not want to take you seriously because of your age?
THE LEMON TWIGS: The only thing that frustrates me about the world of rock is that I can’t record as often as I used to. I personally don’t read much of the press that comes out about us and so anything anybody says about our ages doesn’t really make its way to me. The biggest change being a sort of serious musician has brought is that our schedules are way fuller and we have a lot less time to actually write and record songs.
PONYBOY: What would you say has been the high point in your career so far?
THE LEMON TWIGS: Every time we get recognition from artists we love it becomes a high point.
PONYBOY: Visually, the two of you have strong looks in your manner of dress. It’s reminiscent, back to an early 70s Bay City Roller/Bowie era. We just love it! Tell us a bit about your wonderful Glam look.
THE LEMON TWIGS: Well, we just go through phases. Currently I’ve actually stopped wearing stuff that was too flashy, because I thought it was distracting too much from the music. I’m sure after a while I’ll change it up again.
PONYBOY: Do you find your clothing at vintage shops? Have designer’s and clothing labels started sending you clothing yet?
THE LEMON TWIGS: Most of our clothes are vintage. We’ve gotten some free clothes.
PONYBOY: What do the two of you like to do in your downtime? Or is it all music, 24/7? Do you have any other interests?
THE LEMON TWIGS: Pretty much, we just listen to music. Sometimes we go over to our friend’s house and watch wrestling.
PONYBOY: Do you still reside in Long Island? Do you have any thoughts of relocating to New York City or Los Angeles?
THE LEMON TWIGS: We still live on the Island. Right now we spend so much time away from home, it just doesn’t make sense to live anywhere else.
PONYBOY: At such a young age and with a fantastic debut album, we are super excited to see and hear the evolution of not just The Lemon Twigs, but the two of you as musicians, as well. What do you expect for the future? And do you have any other aspirations besides the band?
THE LEMON TWIGS: We just wanna make as many albums as we can. Right now we are very inspired and we just hope we can keep our excitement about writing songs as long as our heroes have.