luxie_dream
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in the pics the girl in the black dress seems like she's married to peaches more than max ha!
Peaches Geldof
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luxie_dream
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a whole big clutter of peaches pics
source:elleuk
source:showbiz.sky
source:elleuk
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luxie_dream
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luxie_dream
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Peaches Geldof launches Disappear Here magazine
Peaches Geldof has launched the first issue of her new magazine, which features reviews of coffins and spanking paddles.
By Jon Swaine
Last Updated: 4:38PM GMT 05 Dec 2008
Peaches Geldof is editor-at-large of Disappear Here magazine Photo: GETTY
The limited edition "Issue 00" of Disappear Here, the pop culture publication Geldof has founded with James Brown, the former editor of Loaded, welcomes readers with a message that "it is a magazine about music and fashion and everything you love."
The magazine, which is priced at £3.21, recruits Mary and Alfred - "two really bloody old people" - to "test-drive some of the most innovative and pioneering coffins on the market."
The elderly reviewers give their verdicts on caskets fashioned as a giant ballet shoe, an over-sized guitar and a replica barge. Of the latter, Alfred writes: "When I was a boy I went on a barge holiday with my parents and we had a ruddy good time. So yes, I think I'd very much like to be buried in this."
An un-named critic also takes on the task of reviewing spanking paddles, describing the effects of one as "eye-wateringly agonising."
Further inside, Geldof, the magazine's editor-at-large, tells readers about dozens of things that she likes and suggests they should like them too. Top of the list are Reese's Peanut Butter Sticks, an American chocolate snack, of which Geldof writes "---- health. ---- teeth. ---- vegetables."
Also among the list are John McCain, the former Republican candidate for US president, whom she proposes should be stripped naked and stuffed with dough, Soy milk ("It tastes like normal milk and it's better for you") and French knickers ("because thongs are for ********").
The magazine opens a debate on what celebrity will be next to die at 27 - the age at which Jimi Hendrix, Jim Morrison and Kurt Cobain all perished. Suggested options are the footballer Ashley Cole and the pop singer Craig David.
As well as endorsing new bands and artists and asking pairs of pedestrians how much they would have to be paid to sleep with each other, the magazine also interviews Richard Barnbrook, the British National Party's member of the London Assembly.
It asks: "In a bar, does your reputation as a fascist put girls off?" He responds that he is not a fascist.
Peaches Geldof has launched the first issue of her new magazine, which features reviews of coffins and spanking paddles.
By Jon Swaine
Last Updated: 4:38PM GMT 05 Dec 2008
The limited edition "Issue 00" of Disappear Here, the pop culture publication Geldof has founded with James Brown, the former editor of Loaded, welcomes readers with a message that "it is a magazine about music and fashion and everything you love."
The magazine, which is priced at £3.21, recruits Mary and Alfred - "two really bloody old people" - to "test-drive some of the most innovative and pioneering coffins on the market."
The elderly reviewers give their verdicts on caskets fashioned as a giant ballet shoe, an over-sized guitar and a replica barge. Of the latter, Alfred writes: "When I was a boy I went on a barge holiday with my parents and we had a ruddy good time. So yes, I think I'd very much like to be buried in this."
An un-named critic also takes on the task of reviewing spanking paddles, describing the effects of one as "eye-wateringly agonising."
Further inside, Geldof, the magazine's editor-at-large, tells readers about dozens of things that she likes and suggests they should like them too. Top of the list are Reese's Peanut Butter Sticks, an American chocolate snack, of which Geldof writes "---- health. ---- teeth. ---- vegetables."
Also among the list are John McCain, the former Republican candidate for US president, whom she proposes should be stripped naked and stuffed with dough, Soy milk ("It tastes like normal milk and it's better for you") and French knickers ("because thongs are for ********").
The magazine opens a debate on what celebrity will be next to die at 27 - the age at which Jimi Hendrix, Jim Morrison and Kurt Cobain all perished. Suggested options are the footballer Ashley Cole and the pop singer Craig David.
As well as endorsing new bands and artists and asking pairs of pedestrians how much they would have to be paid to sleep with each other, the magazine also interviews Richard Barnbrook, the British National Party's member of the London Assembly.
It asks: "In a bar, does your reputation as a fascist put girls off?" He responds that he is not a fascist.
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The pics of her when she's young are so cute!
luxie_dream
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here's a interview peaches did for disappear here with the great vivienne westwood
Peaches: Hello Vivienne.
Vivienne: Hello Peaches.
P: Are you an idealist?
V: When you design, you have to design for an ideal world. The way you get that ideal world is you look at things that have already existed in the past, and they give you inspiration as to how it could be. And then you change things. Like for example if you wanted to make a dress like Queen Elizabeth’s in the way it was made then you would have a bucket of pearls, and loads of people to sew them. But now you have to do it another way. To change things. And in the process of doing it another way, it looks different, and it has to be something that people can wear today, so that it’s not uncomfortable and so on. Anyway, life is different now. They lived in castles in that particular time, and so they had heavy clothes and all kinds of things that they needed to keep warm which we don’t need. So you have to transform these things. You have to take whatever is sexy or powerful about it, or whatever it is that you really like, you have to take that and do something with it. For example, I changed something which I took from history. I took something called a ‘porcelain jacket’, and that jacket came about when people had plate armour and they had these padded things to go underneath it to protect you. The plate armour is shaped so that the arrows deflect of it and don’t get you, kind of like a cross shape, and its worn with tights. I thought it looked quite space age, and I wanted to do that as the uniforms for Virgin Airlines, because it would be absolutely perfect, not necessarily with the tights, but the whole construction of the jackets and everything, it was perfect. That’s just an example, but it’s just somehow, you think ‘how could things be better? How could people look absolutely great?’ and if you look at people in history – privileged people, and how they dress – I mean they look like they’ve come from another planet, it’s just wonderful. And of course you can’t look like that today, because it’s a different environment and everything, but nevertheless it’s that sort of thing, that’s what I love.
P: You’re using the past to see the future…
V: You CAN project into the future with this, it’s the only way. Because the present doesn’t exist anyway, it’s over. Present present present…it’s gone.
P: Do you think a lot of designers these days are just plain old rehashing stuff?
V: Oh absolutely. You have to start from somewhere you know. If you start from yourself, you’ll do fine for a bit, but then it just becomes so tiresome and boring, and what have you got? You don’t have much excitement. I don’t know, I think it’s a little bit like you have a fridge with food in it, and you think you’ll do everything from it, but no, you have to get something from it, you have to learn to cook or whatever it is you do. You can’t just take whatever it is you’ve got, it’s not enough. You’ll just run out of ideas, you’ll just become boring and burnt out and pathetic.
P: When you design, how do you start?
V: What I always rely on is cutting. If I don’t know what I’m doing I just get a little miniature doll and just do some sort of cutting. But it’s technical. I always do something physical and technical, to get going. And one thing I would like to do but I never succeed in doing is to stop forgetting my ideas. Every collection has so many ideas, I forget them. So many things get thrown away. But I would love to take stuff from last season and just exploit them and do the same things again. Just make them in summer fabrics and it’ll all look different and they’ll get more life. And you can do that a bit, but I always have to start from a new point. I hope not to do that, I would like just to never design anything else and just re-use everything I’ve done because you could, because the things I’ve done, they’re just as good as the things I might do tomorrow. I used politics lately to make the context.
P: Yeah I remember the last show I saw which had a French resistance theme to it.
P: Obviously you’re famous for being a punk. I think you’re still a punk.
V: Well that came about because my generation was politicized by the hippies. Malcolm (Maclaren) who I was working with didn’t really like the hippies.
P: What did you think of the hippies?
V: I think they were brilliant. Kids in those days, we had all these underground magazines, and it really was political, you could find that everywhere. And it changed things an awful lot. And then punk was something to do with the fact that the hippy movement had somehow lost its inspiration. I’m not really sure – I don’t know; it was too laid back or whatever it was.
P: Do you think it was an overtly political thing?
V: Well yes it is. ‘Make love not war’ is political isn’t it? And it had a very very big effect. It had an amazing effect, I mean the American government were so frightened – you know there was a sit in in Berkeley college – and they went in there and they killed about 20 students just sitting on the campus. I mean that’s how scared they were, what with the black power movement and everything, they were just arresting people all the time. They did the same to the Red Indians. They just tied them up in the jails, they charged people with stupid crimes and the conviction rate was about 1 in 100, meaning that they didn’t really have anything to charge them with. They did it to wind them up, get them in jail, make them use all their funds to take all their power away. And the reason they were fighting of course was because all their land was being taken away, and they’d had enough. So it was things like that, and it was just incredible really, what was going on in America.
P: And then came Punk…
V: Well punk wasn’t immediately after remember, what happened is that people started to look at the 50s, and 1970 was the beginning of the age of nostalgia. People before that had not always got their inspiration from the past. They had sometimes perhaps, but it was the whole thing then when people got their inspiration only from that – they went back through all sorts of things, through zoot suits, the 60s, and we’ve got this whole trend where people even go back to punk now, it’s like doubled over. So, regarding myself and Malcolm, the way I saw it, I was looking at my own lifetime to see where the rebellion was, and we somehow decided that it seemed great in the 50s. And it was a very very different look, a very different look to satin flares and platforms, to go for stilettos and leather and things like that, very very different. But we weren’t the only people doing it, there’s a film called Woodstock and there was this group Sha Na Na, who were doing a whole routine in gold jumpsuits like the 50s. It was in the air and other people were interested in the 50s, and Malcolm was at art college and he had this Irish boy who looked like James Dean and wore the same clothes as James Dean in this time, and when we did our shops, there was this whole second wave of Teddy Boys who we found in all these markets when we were looking for old rock and roll records. They didn’t ever play any rock and roll on the radio, and one time they even went to the radio station and petitioned that they should put rock and roll on the radio. So until the beginning of the age of nostalgia they didn’t do that, it was all Frank Sinatra and whatever else, they didn’t have rock and roll on the radio. And it’s very hard to imagine that these days, because it’s so eclectic, and it’s gone back over everything in the 20th century – not before – but in the 20th century, and I think the 20th century is essentially very boring because it’s iconoclastic , it’s like let’s start all over again and throw away everything, and if you do that you’ve got nothing to go with, you throw culture away as well.
P: Do you think that after the 40s, 50s, 60s, 70s, 80s all had defining looks, even the 90s with grunge, do you think we’re going to have a movement in this decade – where fashion completely does something new and defines an age and creates something really new?
V: I don’t think you can ever create anything new, I think every stone’s been turned over. But the idea of grunge for example, is using things that are old, and they’ve got tattier, and making it look like that, because somehow there’s a status in experience that somehow clothes that have been lived in look something. And what I’m saying today is wear your clothes until they fall of your back anyway, I think there’s status in wearing your clothes over and over again.
P: And you say that in your manifesto as well right?
V: Well I sort of address that. My next collection, the one I’m doing in Paris, I’m going to call it ‘Do It Yourself’, cos it’s got kind of pieces in it, but then it’s got other stuff – you could take a shawl or a table-cloth and just put things together, a bit like a rock groupie.
P: And do you think your manifesto dictates a lot of your ideas that relate to fashion?
V: Erm, fashion is what I do, and I think it’s good to dress up. I think it’s very important to be counted and to stick up for things, and somehow I associate that with wearing clothes that look good. I don’t want to look anonymous. So anyway I stand up for that and I think it’s even quite assailable making good clothes and dressing well.
P: And my last question to you is: How’s your pet yak?
V: Oh, I don’t know about that.
P: Ok, then another last question, if you had one statement to make about fashion as a whole, what would it be?
V: I just think you should dress up, I think it’s great. People who don’t dress up are missing out. I mean I don’t know, I love to stay in bed and read, and I’d probably do that if I had the time.
P: And maybe dress up at the same time?
V: No no, I wouldn’t dress up in bed. Well, not unless somebody’s there to look at me!
Posted Thu, December 04, 2008
Back
Peaches: Hello Vivienne.
Vivienne: Hello Peaches.
P: Are you an idealist?
V: When you design, you have to design for an ideal world. The way you get that ideal world is you look at things that have already existed in the past, and they give you inspiration as to how it could be. And then you change things. Like for example if you wanted to make a dress like Queen Elizabeth’s in the way it was made then you would have a bucket of pearls, and loads of people to sew them. But now you have to do it another way. To change things. And in the process of doing it another way, it looks different, and it has to be something that people can wear today, so that it’s not uncomfortable and so on. Anyway, life is different now. They lived in castles in that particular time, and so they had heavy clothes and all kinds of things that they needed to keep warm which we don’t need. So you have to transform these things. You have to take whatever is sexy or powerful about it, or whatever it is that you really like, you have to take that and do something with it. For example, I changed something which I took from history. I took something called a ‘porcelain jacket’, and that jacket came about when people had plate armour and they had these padded things to go underneath it to protect you. The plate armour is shaped so that the arrows deflect of it and don’t get you, kind of like a cross shape, and its worn with tights. I thought it looked quite space age, and I wanted to do that as the uniforms for Virgin Airlines, because it would be absolutely perfect, not necessarily with the tights, but the whole construction of the jackets and everything, it was perfect. That’s just an example, but it’s just somehow, you think ‘how could things be better? How could people look absolutely great?’ and if you look at people in history – privileged people, and how they dress – I mean they look like they’ve come from another planet, it’s just wonderful. And of course you can’t look like that today, because it’s a different environment and everything, but nevertheless it’s that sort of thing, that’s what I love.
P: You’re using the past to see the future…
V: You CAN project into the future with this, it’s the only way. Because the present doesn’t exist anyway, it’s over. Present present present…it’s gone.
P: Do you think a lot of designers these days are just plain old rehashing stuff?
V: Oh absolutely. You have to start from somewhere you know. If you start from yourself, you’ll do fine for a bit, but then it just becomes so tiresome and boring, and what have you got? You don’t have much excitement. I don’t know, I think it’s a little bit like you have a fridge with food in it, and you think you’ll do everything from it, but no, you have to get something from it, you have to learn to cook or whatever it is you do. You can’t just take whatever it is you’ve got, it’s not enough. You’ll just run out of ideas, you’ll just become boring and burnt out and pathetic.
P: When you design, how do you start?
V: What I always rely on is cutting. If I don’t know what I’m doing I just get a little miniature doll and just do some sort of cutting. But it’s technical. I always do something physical and technical, to get going. And one thing I would like to do but I never succeed in doing is to stop forgetting my ideas. Every collection has so many ideas, I forget them. So many things get thrown away. But I would love to take stuff from last season and just exploit them and do the same things again. Just make them in summer fabrics and it’ll all look different and they’ll get more life. And you can do that a bit, but I always have to start from a new point. I hope not to do that, I would like just to never design anything else and just re-use everything I’ve done because you could, because the things I’ve done, they’re just as good as the things I might do tomorrow. I used politics lately to make the context.
P: Yeah I remember the last show I saw which had a French resistance theme to it.
P: Obviously you’re famous for being a punk. I think you’re still a punk.
V: Well that came about because my generation was politicized by the hippies. Malcolm (Maclaren) who I was working with didn’t really like the hippies.
P: What did you think of the hippies?
V: I think they were brilliant. Kids in those days, we had all these underground magazines, and it really was political, you could find that everywhere. And it changed things an awful lot. And then punk was something to do with the fact that the hippy movement had somehow lost its inspiration. I’m not really sure – I don’t know; it was too laid back or whatever it was.
P: Do you think it was an overtly political thing?
V: Well yes it is. ‘Make love not war’ is political isn’t it? And it had a very very big effect. It had an amazing effect, I mean the American government were so frightened – you know there was a sit in in Berkeley college – and they went in there and they killed about 20 students just sitting on the campus. I mean that’s how scared they were, what with the black power movement and everything, they were just arresting people all the time. They did the same to the Red Indians. They just tied them up in the jails, they charged people with stupid crimes and the conviction rate was about 1 in 100, meaning that they didn’t really have anything to charge them with. They did it to wind them up, get them in jail, make them use all their funds to take all their power away. And the reason they were fighting of course was because all their land was being taken away, and they’d had enough. So it was things like that, and it was just incredible really, what was going on in America.
P: And then came Punk…
V: Well punk wasn’t immediately after remember, what happened is that people started to look at the 50s, and 1970 was the beginning of the age of nostalgia. People before that had not always got their inspiration from the past. They had sometimes perhaps, but it was the whole thing then when people got their inspiration only from that – they went back through all sorts of things, through zoot suits, the 60s, and we’ve got this whole trend where people even go back to punk now, it’s like doubled over. So, regarding myself and Malcolm, the way I saw it, I was looking at my own lifetime to see where the rebellion was, and we somehow decided that it seemed great in the 50s. And it was a very very different look, a very different look to satin flares and platforms, to go for stilettos and leather and things like that, very very different. But we weren’t the only people doing it, there’s a film called Woodstock and there was this group Sha Na Na, who were doing a whole routine in gold jumpsuits like the 50s. It was in the air and other people were interested in the 50s, and Malcolm was at art college and he had this Irish boy who looked like James Dean and wore the same clothes as James Dean in this time, and when we did our shops, there was this whole second wave of Teddy Boys who we found in all these markets when we were looking for old rock and roll records. They didn’t ever play any rock and roll on the radio, and one time they even went to the radio station and petitioned that they should put rock and roll on the radio. So until the beginning of the age of nostalgia they didn’t do that, it was all Frank Sinatra and whatever else, they didn’t have rock and roll on the radio. And it’s very hard to imagine that these days, because it’s so eclectic, and it’s gone back over everything in the 20th century – not before – but in the 20th century, and I think the 20th century is essentially very boring because it’s iconoclastic , it’s like let’s start all over again and throw away everything, and if you do that you’ve got nothing to go with, you throw culture away as well.
P: Do you think that after the 40s, 50s, 60s, 70s, 80s all had defining looks, even the 90s with grunge, do you think we’re going to have a movement in this decade – where fashion completely does something new and defines an age and creates something really new?
V: I don’t think you can ever create anything new, I think every stone’s been turned over. But the idea of grunge for example, is using things that are old, and they’ve got tattier, and making it look like that, because somehow there’s a status in experience that somehow clothes that have been lived in look something. And what I’m saying today is wear your clothes until they fall of your back anyway, I think there’s status in wearing your clothes over and over again.
P: And you say that in your manifesto as well right?
V: Well I sort of address that. My next collection, the one I’m doing in Paris, I’m going to call it ‘Do It Yourself’, cos it’s got kind of pieces in it, but then it’s got other stuff – you could take a shawl or a table-cloth and just put things together, a bit like a rock groupie.
P: And do you think your manifesto dictates a lot of your ideas that relate to fashion?
V: Erm, fashion is what I do, and I think it’s good to dress up. I think it’s very important to be counted and to stick up for things, and somehow I associate that with wearing clothes that look good. I don’t want to look anonymous. So anyway I stand up for that and I think it’s even quite assailable making good clothes and dressing well.
P: And my last question to you is: How’s your pet yak?
V: Oh, I don’t know about that.
P: Ok, then another last question, if you had one statement to make about fashion as a whole, what would it be?
V: I just think you should dress up, I think it’s great. People who don’t dress up are missing out. I mean I don’t know, I love to stay in bed and read, and I’d probably do that if I had the time.
P: And maybe dress up at the same time?
V: No no, I wouldn’t dress up in bed. Well, not unless somebody’s there to look at me!
Posted Thu, December 04, 2008
Back
luxie_dream
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and a photo to go with it
source:disappearhere
source:disappearhere
AnalogBubblebath
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Thank you luxie_dream. I enjoyed reading the interview.
luxie_dream
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you are so very welcome does anyone know where to get this mag.?
luxie_dream
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uh-huh peaches says a little too much
Earlier, we called for Brit teen socialite-cokehead and It Child Peaches Geldof's firing, deeming her a menace to society. And then there's her friend, Internet phenomenon Cory Kennedy, famous for, um, being an "Internet It Girl" and dating that Cobrasnake dude? Anyway, when they are not "writing" and "modeling" for Nylon, Peaches is spilling the beans on what drugs certain co-workers at the downtown fashion mag—who might actually have to work!—are usin'.
Bash Compactor [New York Press]
Earlier, we called for Brit teen socialite-cokehead and It Child Peaches Geldof's firing, deeming her a menace to society. And then there's her friend, Internet phenomenon Cory Kennedy, famous for, um, being an "Internet It Girl" and dating that Cobrasnake dude? Anyway, when they are not "writing" and "modeling" for Nylon, Peaches is spilling the beans on what drugs certain co-workers at the downtown fashion mag—who might actually have to work!—are usin'.
What’s the drug of choice at Nylon? “Klonopin.” Peaches was definitely the talky one. Why? “It’s just a very large prescription drug culture.” I asked Cory what she thought. “No comment.”
This confirms our highly anecdotal evidence of Klonopin as a mini-trend for the creative underclass, maybe better than Xanax—not that our shrink is offering to prescribe us any despite repeated inquiries.
Bash Compactor [New York Press]
PetitPuppy
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Her new tattoo looks like a huge bruise. 
luxie_dream
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Peaches Geldof Launches Her New Magazine 'Disappear Here
Peaches Geldof is pictured launching her magazine 'Disappear Here' which was held at the Rex Cinema and Bar in London, UK. (Photo by Photo Agency)
source:zimbio
Peaches Geldof is pictured launching her magazine 'Disappear Here' which was held at the Rex Cinema and Bar in London, UK. (Photo by Photo Agency)
source:zimbio
peachescream
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oh that dress is gorgeous... she looks fabulous there, what a great colour on her.
thanks for posting luxie!
thanks for posting luxie!
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