So it’s not really a long lost comic. It’s a recent adaptation of an abandoned script.
Can we stop it with the misleading headlines on EVERYTHING.
Quite right, rider. Also, Alan Moore didn’t write the adaptation.
“It was probably never going to be realised,” [Alan Moore] continues, “but when my publisher said he’d managed to find a copy of the screenplay and suggested that perhaps he get the excellent writer Anthony Johnson [sic] to do the adaptation …”
Don’t feel bad, Cory. Even the UK Guardian couldn’t be trusted to transcribe poor Antony Johnston’s name correctly. From the publisher page:
http://www.comcav.com/cart/index.php?main_page=product_info&cPath=1_42_306&products_id=13231
Beautifully illustrated by Facundo Percio (Anna Mercury) and meticulously adapted by Antony Johnston (Yuggoth Cultures), this is another must have entry in the graphic novel masterworks library by Alan Moore.
Thank you!
the impresario behind the Sex Pistols, who “invented Punk as a Situationist prank.”
That is a very generous description.
Yeah, that’s a hell of a thing to say, even in quotes. Richard Hell and the Ramones might have some serious questions about that.
Not to mention The Clash…
BTW: anyone mention Vivienne Westwood yet? Without having read Fashion Beast (yet) or knowing anything except what I’ve read on BB I’m willing to guess that a substantial part of Malcolm McLaren’s input on this should be attributed to her.
there i fixed it for you
The following statements are purly subjective: as a low-level fashionista and comic book enthusiast, I’ll put it that regardless of quantifiable source of headline, I would recommend this book to like minded folk. The 1980 hold-over elements of nuclear winter and radiation poisoning is a great piece of nostalgia for me. I see the story as a reflection of what was happening in the “great fashion houses” towards the end of last century; classic, stable designs were deconstructed for a more active and raw look. I find the design evolution to be particularly close to the clothes and story of Christian Dior; high collars and broad brimmed hats and lots of strappy and buckled foundations that no one saw. The Malcolm McLaren influence is very evident in the use of the Harlem Vogue and Ballroom Culture. Get into Dior pieces from the 1950s up to 1980s and compare with what Dior (and possibly Chanel) is putting out today. btw, I was real disappointed that Vivienne Westwood (250 for a necktie is hardly “Punk” but I adore her and her designs) wasn’t in the story.
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