No. 60: Chris Maghsodi
Art Director and Designer Peter Saville, vintage Agnes b., Light Sleeper by Paul Shrader, the Oasis reunion, and unitled (halo).
Chris Maghsodi was born and raised in “The Valley” (Los Angeles), where he was introduced to subcultures and drawn to the allure of what was happening just over the hill. Now living on the flip side in Los Feliz, Chris started his career in editorial writing at Flaunt and has since worked in styling for RRL, Dover Street, and Opening Ceremony, while also working in photography. From Chris–
I. a career hero
Art Director and Designer Peter Saville has been a ‘career hero’ of mine, as I call it, since fall 2021. I had always heard the name growing up in college and young adult life from past interviews with accoladed designers to musicians and knew of his major Magnus opus, designing Joy Division’s culturally synonymous “Unknown Pleasures” cover as well as later on New Order’s “Power, Corruption and Lies”, but I knew there was more to digest. I wanted to fully dive in after watching his elegantly thorough SHOWstudio interview with Lou Stoppard.
On a late rainy October day in Echo Park here in Los Angeles, I stopped in the book store Stories and viewed one of his two career retrospective published books, Designed by Peter Saville. I knew I would instantly be inspired by viewing his less popular works, from flyers and space identity for the infamous Manchester nightclub, The Hacienda, to Peter transitioning into fashion working on Yohji Yamamoto’s 1992 catalog ‘E Z Go’ and later on Dior campaigns with the influential fashion photographer Nick Knight, as well as to the early aughts working with a young Juergen Teller. I solely fell in love with how he curated his life experiences and life itself into the work.
I truly believe his work presents a lifestyle you can picture yourself experiencing by merely viewing the imagery. Peter has claimed that from first viewing Roxy Music’s Bryan Ferry sporting a white 007 tux jacket on his second studio album. He has perfected this seamlessly throughout his career moving through different cultural eras, showcasing early rave culture with the late 80‘s acid house-inspired Technique, onto 1993’s Republic, inspired by the cultural juxtaposition of Los Angeles’ clash of the 1992 Watts’ riots happening only a near hour away from the blissful landscapes of Malibu’s coast. He presents worlds through his visual identity direction, at times letting you in all these years without even hearing the music first, but through unconventional art direction, using no text at times, only polarizing iconography.
I could go on about this distant mentor of mine and many but lastly, I would like to conclude how he is an underappreciated master of dressing himself with minimal self style. From well-fitted merino wool turtle necks to effortlessly worn suits equipped with a low-profile wristwatch, he presents a nonchalant chic and sartorial approach to expressing himself through quality clothing silhouettes.
II. a brand
Vintage Agnes b. has become a light obsession lately with searching eBay, Grailed, and Depop for light outerwear collared jackets to overshirts (here, here, and here). I’d always hear about the brand through older friends, well-curated Los Angeles vintage stores like Varsity, and having crushes on older well-dressed women who would mix high and low.
What made me commit to the search was recently finding a perfect light beige linen overshirt while in Paris, at the store The Archivist, whose daily stories show their never-ending perfect buying that includes my favorite brands from the contemporary Auralee to golden age Comme des Garcons. Like the linen, I’ve been searching for more vintage pieces from the brand that sport those perfect delicate but sturdy riri zippers, with a certain shine to them but not an od amount that would come off as tacky. If someone you’re interested in wears one of those pearl snap classic cardigans the brand has become infamous for to an early date or hang, I would get down on one knee and purpose.
III. a film
2 years ago, my close friend Joseph with impeccable taste referred me to an early 90’s indie film directed and written by Paul Schrader. Showcasing a more gritty but surreal New York City, this film is titled Light Sleeper (1992), starring icons Willem Dafoe and Susan Sarandon. The movie had everything I look for in a film from this time frame in American culture. Dreamscape lighting, an era-fitting jazz-like ballad soundtrack (some might find it corny, I don’t think it’s appropriate), and relatable everyday life-styled narration. The lonesome wolf representation of Willem in his apartment evaluating his life choices as a drug dealer, trying to make a change for the better while sitting in solitude with his thoughts can be relatable to any viewer, especially going through career transitions.
Susan Sarandon has wit and charisma but is still so loveable. She calls the shots effectively while demanding respect but without cynicism. It only affirms everyones crush on the cat-eyed generational talent.
If the reflective indie shot around New York’s signature hues with an early Sam Rockwell cameo isn’t enough, Giorgio Armani seized all duties to provide costume wardrobes for the cast. This is 1992 Armani we are talking about after all. A recent second rewatch earlier this summer reiterated the special relationship you can experience with this underappreciated neo-noir.
IV. a reunion
Either you were doing your best Liam impersonation in the mirror or scoffed and muttered who cares to yourself when the world erupted with the news of Oasis reuniting after 15 years for UK shows next summer. A lot of Americans, especially tail-end millennials and zoomers, struggle to grasp a fully formed idea on the biblical Manchester ensemble of brothers and co. I’m here to provide the best entry angle to understanding their impact of effortless cool.
The most effective entry point is not the most popular singles besides the one you grew up making fun of, but it’s secretly how special the b-sides are. Arguably they possess the best as a band in the past 30+ years, sometimes creating missed opportunities, with the regret of taking out filler tracks and then adding these commanding deep cuts. B-sides like “Acquiesce” and “Talk Tonight” naturally became standouts for admirers of the Creation Records carriers by the mid-’90s, but if you look even beyond, their loud/less playing it safe tracks like “(It’s Good) To Be Free” and “Columbia (White Label Demo)”, their only shoegaze merry-go-round, and the more vulnerable and less lad like, “Rockin’ Chair” present a greater feel for how magnetic Noel’s output was during their first 3 album run.
V. a contemporary band
Untitled (Halo). Smart friends making smart music. Having no drummer is the X-factor. Their latest single, which debuted a month ago, “that’s honey” is my favorite by far. It presents an irresistible sexy duality in sound. You can play it at a venue and dance to it or drive fast at night against the newly crisp fall air creeping in.
It has a specific dance groove buried under crunchy guitar quality to it, mirroring very early 90’s alternative British music. “Pearl” by Chapterhouse, “Soon” by My Bloody Valentine, and “Catchfire” by The Jesus and Mary Chain come to mind for reference. If any producers are reading this I would create an extended edit immediately.
BULLETIN
Los Angeles
On view: Patricia Iglesias Peco’s Las Plantas de Ese Jardín Conservaban en la Sombra Sus Colores at François Ghebaly. Elise Rasmussen’s The Beautiful and Cynthia Daignault’s The Lemon at Night Gallery. Anna Freeman Bentley’s Complete Reality at Anat Ebgi. Kikuo Saito’s Color Plays at James Fuentes. Catherine Fairbanks’ Nurses Under Lakes at M+B. Christina Ramberg: A Retrospective at the Hammer Museum. At Home: Alice Neel in Queer World at David Zwirner. Olafur Eliasson: OPEN at MOCA. Nicholas Bierk’s The Beauty and the Horror at Overduin & Co. Rising Signs: The Medieval Science of Astrology at The Getty. Jane Dickson’s Are We There Yet? at Karma. Koji Nakano Exhibition, new work by Koji Nakano, at CASTLE. Group show L.A. Story at Hauser & Wirth featuring Ed Ruscha, Florian-Maier-Aichen, David Hockney, and more (curated by Steve Martin).
New York
On view: Olafur Eliasson’s Your Psychoacoustic Light Ensemble at Tanya Bonakdar. Lorenzo Amos’ No Regrets Because You’re My Sunshine at Gratin. Dabin Ahn’s Good Things Take Time at Harpers Chelsea 534. Eliot Greenwald’s Library at Harper’s Chelsea 512. Daniel Um’s Apple of My Eye at The Hole. Alyina Zaidi’s Lost in the Belly of a Whale at Alexander Berggruen. Cecily Brown’s The 5 Senses at Paula Cooper. Justine Kurland’s SCUMB Flowers at Dashwood Projects. Jammie Hoolmes’ Morning Thoughts and Hannah van Bart’s Inner Homeland at Marianne Boesky. Samantha Joy Groff’s Prophecy of the End at Nicodim. Jorge Pardo at Pretzel Gallery. David Salle at Pace Prints. Paula Siebra’s As Primeiras Coisas at Mendes Wood DM. Eleanor Ray at Nicelle Beauchene. Ever Baldwin’s Stranger in the Echoes at Marinaro. Elizabeth Hohimer’s Rhythm Horizons and Roger Winter’s Manhattan Valley at Tara Downs. Edges of Ailey at the Whitney. Andie Dinkin’s Slippers Gold, Oysters Cold at Half Gallery and Max Xeno Karnig’s The Scallop Shell at Half Gallery Annex.
Affection Archives is a weekly look into the archives of yours truly (Arielle Eshel) and people I admire. Follow on Instagram @AffectionArchives.
I never screenshotted this much :)