Did you take pleasure in yesterday’s publish on Alex Michon and her punk model evolution? If that’s the case, there’s extra. I requested her to unearth some pictures for me and in addition to the pictures (apologies for the unhealthy high quality – they’re not scans, however hey, it’s punk innit), she emailed extra commentary that I couldn’t resist including.
So right here is Half 2.
I hope you’ll discover it as fascinating as I do. Alex was adamant she wished pictures that confirmed her as she actually was – a ‘shy punk’ and not a poser. Nevertheless, a number of her pictures do present her posing in her designs as a approach of documenting the work. So I couldn’t actually not embrace them – sorry Alex!
Photographs and commentary by Alex Michon except said within the photograph credit on the backside.
Alex Michon: This (above) might be 1977 or 78 I feel, even earlier than I used to be working with The Conflict. It’s me and Gina (Birch) from the Raincoats. Us simply hanging out, nevertheless it has the ‘contact of the ‘Androgynes’ I speak about; white shirt, black trousers, minimal dressing. No zips, no colored hair, all simply attempting to be Patti Smith on the duvet of Horses!
That is my Goldsmith’s pupil photograph and might be both 1978 or 1979. I used to be nonetheless working with The Conflict after I was at school however solely part-time. The polyester cardigan is important; I wore a number of Nineteen Sixties polyester cardigans. Don’t keep in mind why; I feel the cardigan was a kind of throwback to ‘kitchen sink’ movies within the 60s kind of narrative. And in addition French New Wave. (I used to be at all times attempting to look French New Wave.)
Listed here are me and Chrissie Atkinson rehearsing in Cannon Road Street, a decrepit outdated constructing within the East Finish the place we might be stitching. (I used to be at Goldsmith’s, so this should be 79 or 80.) It was after I was at school and in addition nonetheless stitching for The Conflict. Notice the ever-present polyester cardigan which was in all probability pink. The sneakers have been pink pointed Mary Janes. I prefer it as a result of I’m not posing however truly enjoying my Fender Telecaster – though we have been enjoying ska not punk. Chrissie is my bestie to at the present time; she was a tremendous singer and at all times thought my guitar enjoying was crap. I assumed I used to be one of the best rhythm ska guitarist there ever was, in fact. I beloved being within the band greater than something. Stitching appeared so ‘girly’ and right here I used to be, lastly similar to one of many boys.
And right here I’m on stage on the 100 Membership. By now we had renamed ourselves as Membership Mamzelle. We have been kind of influenced by Cajun music; we had all gone to see Queen Ida and her Bonne Temps Zydeco Band. She had a feminine guitarist. We went backstage to see her; all of us dressed up as kind of New Orleans madams, all in lace!
Right here’s me in a sleeveless Aertex high made for the band. I did nonetheless used to put on that studded bracelet lots, however simply with my standard black jumper and denims. Endlessly sporting the rockabilly quiff factor. Rockabilly was an enormous affect all through. I made these nice rockabilly shirts with colored suede-type material fronts or striped entrance and black backs with pearl poppers. I wore a pink one on a regular basis nevertheless it’s tough to search out pictures of the band carrying them. That is the closest factor I can discover (under) – Joe Strummer is carrying a yellow striped one and Mick Jones should be carrying a pink one. I beloved these shirts and as I say, I had a powder blue one and a pink one, which I used to put on with denims or a mini skirt.
That is considered one of my favorite pictures of me in New York as a result of it exhibits me truly stitching slightly than posing and could be very true to life. I didn’t actually care a lot about what I used to be carrying. That’s a ‘Free Conflict’ T-shirt from the time. My blonde hair, which I had dyed within the final yr at Goldsmith’s after I was in my band, is rising out and I’m trying (as I’m doing these days) some kind of rockabilly-type quiffage. Simply brief, tapered trousers and flat ballet pumps – extra for ease than for model. A working outfit however once more, black slim trousers and pumps, a nod to French New Wave. In all probability round 1980-81 or perhaps 82. Straight after I graduated, Bernard [Rhodes, The Clash’s manager] bought in contact and mentioned, “you might be coming to New York”.
That is within the Conflict workplace within the Garment District of New York. I had a stitching machine in there, simply working day and night time as standard. We have been presupposed to be getting a variety collectively for a store Bernard was planning. Nevertheless it by no means occurred as The Conflict and Bernard have been within the technique of splitting up – standard rock and roll machinations. I by no means noticed the group in New York. Krystyna [Kolowska] was not there, I used to be doing all of it alone and in addition making garments for excursions. Essentially the most thrilling factor was that I shared the workplace with Kool Girl Blue who was managing a number of hip-hop bands and I practically started working with the Double Dutch women, however that once more by no means occurred. However hip-hop was throughout, dudes strolling down the road with big beat packing containers with Kraftwerk samples blaring out. It was so thrilling. Afrika Bambaataa and all that; graffiti was in all places however the true, authentic factor.
Right here’s one other unposed one. Rehearsing, carrying my father’s 1950’s blue and black blouson lumberjack jacket, for that genuine 50s rockabilly look.
Right here’s a postcard from Joe referring to our silk-stocking sort shirt. [Alex made a shirt for Joe Strummer with see-through black sleeves that were double-hemmed to look like stocking tops, a twist on the band’s perceived macho image]
[L-R] That is taken from a contact sheet. A bit posy however extra what I might put on. Charity store jacket, Conflict T-shirt (from the pile) and straight-legged black trousers. Then once more from a contact sheet; me carrying my mini skirt design which might at all times be ‘performed down’ with a charity store mac and so on. Right here, I want I used to be carrying thick black tights – the lacy ones have been just for the photograph!
That is in my stitching studio. I’m carrying the zipped jacket we made for Joe Strummer. I feel he gave it to me, or simply left it mendacity round. I might put on this lots; I prefer it due to the very darkish tights with the darkish mini and flat boots. Extra of what I might usually put on. The boots have been inexperienced suede with a wedge from a charity store which I dyed black. On the cabinets are inks used for T-shirt printing.
Thanks Alex!
In case you missed it, learn Half 1 right here.
WORDS: Disneyrollergirl / Navaz Batliwalla
IMAGES: Rocco Redondo; 2-5 – Alex Michon; 6 – Krystyna Kolowska; 7 – The Conflict by Jenny Lens; 8 – Krystyna Kolowska; 9-12 – Alex Michon
NOTE: Most photographs are digitally enhanced. Some posts use affiliate hyperlinks and PR samples. Please learn my privateness and cookies coverage right here
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