Kevin: I always enjoyed visiting the studio at 69 Elizabeth Street. It was like stepping into another world. Its location, tucked beneath the shop – a showroom designed by Tom Dixon, busy with various women stopping by to buy hats – always reminded me of the aptly named ‘underworld’ of U2’s Zoo TV stage: a messy, chaotic but highly technical control room that remained invisible from the public performance above.
As the final days in the studio approached, I wanted to make a document of the space, empty of people and free from the frenetic hat making. On impulse, it seemed mad not to record the final night. I wanted to capture the abstract beauty of the place, from the colour of the spray paint on the walls to the surreal reality that even the bathroom could be like a botanic garden, filled with hats and plants, not to mention the boyish appeal of the scrawl of a supermodel’s phone number on the studio walls.
Philip was moving to a larger studio, and the upheaval was taking place at the same time that my own life was changing, and fatherhood and family life were offering whole new perspectives. Time seemed to be moving faster, and children’s birthdays became fleeting markers in the steady progression of our own lives. Suddenly, the luxury of time, which I had taken pleasure in before, seemed to be evaporating. But, in reality, the next stage was only just down the road.
69 Elizabeth Street, In the Studio; last night, 1999
Philip Treacy by Kevin Davies, Phaidon
I know Bleach isn’t a horror manga but dang, this page is too good not to gif!