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Initial ideas and concepts
- White Trash vibes
- Suburban wasteland

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GUMMO (1997) - HARMONY KORINE
THE BROWN BUNNY (2003) - VINCENT GALLO
THE TEXAS CHAINSAW MASSACRE (1974) - TOBE HOOPER
THIS IS ENGLAND (2006) - SHANE MEADOWS
ALONE IN THE WOODS: THE LEGEND OF CAMBO (2015) - HARMONY KORINE FOR VICE
X (2022) - TI WEST
HALLOWEEN (2007) - ROB ZOMBIE
THE FLORIDA PROJECT (2017) - SEAN BAKER
KIDS (1995) - LARRY CLARK
LAST HOUSE ON THE LEFT (1972) - WES CRAVEN
THE DEVILS REJECTS (2005) - ROB ZOMBIE

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GUMMO OUTFIT POLAROIDS - PURPLE MAGAZINE

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GUMMO OUTFIT POLAROIDS - PURPLE MAGAZINE

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STYLING CHOICES

Gummo is widely praised for its visual aesthetics. An important factor in this is the excellent costume design and character styling. Actor and fashion icon Chloe Sevigny, who was dating Korine at the time, took on the task of designing the costumes for the characters in the film.

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Gummo
interview by OLIVIER ZAHM
Harmony Korine's sister found these pictures in a closet, under a broken skateboard and a pile of socks. They were used for the costume fittings of Harmony's first film, GUMMO, a selection of wild vignettes set in a fictional southern US town destroyed by a tornado. Gummo became a cult film, with the famous "bunny boy," and the styling of Chloë Sevigny, who also acted in the film and was Harmony's girlfriend at the time. This feature is a flashback to the quintessential '90s movie.

OLIVIER ZAHM - You made Gummo - your first feature film - 15 years ago, after writing the script for Larry Clark's film, Kids. Could you describe the ambiance on the set of Gummo?
HARMONY KORINE - The whole thing was like one long anecdote. The filming of it came together like magic falling from the sky. I remember being alone with my cinematographer in a kitchen, filming a guy who was wrestling a broken chair, and thinking how great it all was. At one point my entire crew abandoned me. They were disgusted with the locations and the people and they just walked away.

OLIVIER ZAHM - What was Gummo about?
HARMONY KORINE - The story takes place in a small town a tornado has destroyed. It follows two teenage boys who sniff paint and kill cats, which they sell to a Chinese restaurant. It also follows teenage sisters who wander around the town. But the story is really held together by a small boy who wears pink rabbit ears and rides around on a little yellow skateboard. The film is about these - and many other - people in the town.

OLIVIER ZAHM - Chloë Sevigny acted in the film. What was it like directing a girl you were in love with?
HARMONY KORINE - It was great - we had a great time. I was really young then. It all seems like a dream to me now.

OLIVIER ZAHM - What direction did you give Chloë, in terms of costume design?
HARMONY KORINE - We based the looks on those of real kids in the neighborhood in Tennessee where we filmed.

OLIVIER ZAHM - Why did you shoot Gummo in Tennessee?
HARMONY KORINE - Because I grew up in Nashville.

OLIVIER ZAHM - Was the film well received?
HARMONY KORINE - A lot of people reviled Gummo, something I've never understood. For me it's just a simple love letter.

END

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interview by OLIVIER ZAHM Harmony Korine's sister found these pictures in a closet, under a broken skateboard and a pile of socks. They were used for the costume fittings of Harmony's first film, GUMMO, a selection of wild vignettes set in a fictional southern US town destroyed by a tornado.

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TERM 3 VIBES AND BANGERS

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As Ghoster is a short film, being produced with no budget, it would be unrealistic to try and replicate the exact visual style used by Korine in this film.
Pay close attention to the opening scene - manipulated, abstract images flash across the screen.
Use this style to tell the story of GHOSTER.

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Vincent Gallo's 'The Brown Bunny' is a key point of reference for my short film 'Ghoster'. The film follows a man, torn apart following his separation with his ex partner.

Whilst I am inspired by the narrative of the film and the story structure, I feel that visually my film will draw more inspiration from the likes of Gummo and Julien Donkey Boy by Harmony Korine.

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Vincent Gallo's 2003 film, The Brown Bunny, is one of the most controversial films ever released. Featuring the notorious scene towards the end of the picture in which Chloë Sevigny, acting as the dream-like Daisy, performs unsimulated fellatio on Gallo's opaque protagonist, Bud Clay, as soon as it premiered at Cannes Film Festival in May that year, it shocked audiences.

A road movie shot on 16mm then expanded to 35mm to give it that "old-school grain", The Brown Bunny was always intended as a piece of art, even if off-screen, the man behind it, Vincent Gallo, is of questionable political opinions and has a rather inflated view of himself. You've got to give it to him and Sevigny, though, the film was way ahead of its time, and in terms of aesthetic and essence, it took the mantle from the films of Andy Warhol and John Waters.

A marvellously hazy ode to isolation and heartbreak - but at the same time a frank discussion of abuse - the film has aged well. It's almost as if the time it has taken society to mature between 2003 and now has done a lot for the film.

Audiences aren't so highly strung as they were 18 years ago, and although The Brown Bunny wasn't the first film to have such a "shocking" scene, as Waters' Pink Flamingos had a similar one, it seems as if society is more comfortable in seeing the film for what it is, taking that scene in the proper context. The #MeToo movement and the proliferation of the internet have also helped it to find its true place in popular culture.

Famously, Gallo got into a heated spat with lauded critic Roger Ebert after the Cannes showing. To put it into context, reports of the film being heckled and leered at were topped off by the fact that every time Gallo's name appeared on the credits, the crowd jeered in disgust. The reaction to the film was so negative, in fact, that Seiichi Tsukada, an executive at Kinetique, the company who financed the film, said: "I was at Cannes. I felt injustice. The bashing in Cannes is not for Brown Bunny. I think they're bashing Vincent. I don't know why".

Roger Ebert wrote that The Brown Bunny was the worst film in the history of Cannes, to which Gallo retorted by labelling Ebert a "fat pig with the physique of a slave trader". Ebert then extended the surreal war of words by modifying a quote of Winston Churchill's. He said dramatically: "It is true that I am fat, but one day I will be thin, and he will still be the director of The Brown Bunny ".

Then it got even weirder. Gallo being, well, Gallo, claimed to have put a hex on Ebert's colon, cursing the veteran critic with cancer. The quick-witted Ebert had another parry up his sleeve, though. He said that watching a video of his colonoscopy had been more entertaining than watching The Brown Bunny. After the notorious spat, Gallo reaffirmed his position and claimed that the 'hex' had actually been placed on Ebert's prostate, but that he intended it as a joke, and that it was misconstrued by a journalist. He also said that that he found Ebert's colonoscopy quip to a brilliant comeback.

The furore around The Brown Bunny confirmed one thing; it is a true art film. It shocked and offended some, and was lapped up by others. An underrated modern gem, it was praised by some of the most celebrated filmmakers around, including Jean-Luc Goddard, John Waters and Sean Penn. Even Werner Herzog loved it, describing it as "the best portrayal of the particular loneliness a man feels".

Aware of its nature as an art film, and effortlessly cool, Sevigny told The Associated Press not long after the film's release, "I knew people would not understand it". She explained: "When you see the film, it makes more sense. It's an art film. It should be playing in museums. It's like an Andy Warhol movie".

For understandable reasons and the way that the scene is hugely intimate, for anyone other than Sevigny, it would have ruined their career or personal lives. But she used it to her strengths. Although Sevigny has claimed at points that it strained some interpersonal relationships, it seems as if on the whole, Sevigny's career benefited from the scene. It was a could not give a fuck moment, and that is Sevigny to a tee, the queen of cool.

(Credit: Vincent Gallo Productions)

In the January 2011 issue of , she explained: "What's happened with that is all very complicated. There are a lot of emotions. I'll probably have to go to therapy at some point. But I love Vincent. The film is tragic and beautiful, and I'm proud of it and my performance. I'm sad that people think one way of the movie, but what can you do? I've done many explicit sex scenes, but I'm not that interested in doing any more. I'm more self-aware now and wouldn't be able to be as free, so why even do it?". Frequently asked about the film and the scene, in 2017, she explained that she decided to do it to push back against her growing level of fame at the time.

At the Provincetown Film Festival, when promoting her directorial debut, Kitty, Sevigny told IndieWire: "I think it was a way of kind of reclaiming myself, which sounds odd, but after the celebrity and stuff, being like: 'No, that's not who I am, I'm this other thing, and this is what I stand for.' Or wanting to push the envelope".

A challenging film dealing with tough topics, in the age of the #MeToo movement where personal ownership is a hot topic, The Brown Bunny is more pertinent than it was back then. Artfully beautiful and artfully challenging, it's a dense film that you can take a lot from. Arguably Gallo's finest moment, to gain the love of filmmakers such as Herzog and Goddard, he must have done something right.
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Revisiting Vincent Gallo and Chloë Sevigny's notoriously important film 'The Brown Bunny'

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Vincent Gallo's 2003 film, The Brown Bunny, is one of the most controversial films ever released. Featuring the notorious scene towards the end of the picture in which Chloë Sevigny, acting as the dream-like Daisy, performs unsimulated fellatio on Gallo's opaque protagonist, Bud Clay, as soon as it premiered at Cannes Film Festival in May that year, it shocked audiences.

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Following its team-up with Thrasher, Supreme is now set to release its surprising collaboration with True Religion for Fall 2021. The latest collision was initially revealed by Supreme team rider Tyshawn Jones and caught the attention of many with its unexpected nature.

The True Religion brand was founded in 2002 by Jeff Lubell and Kym Gold and made a name for itself with its distinct denim offerings and accompanying apparel defined by its five-needle thread at two-stitch-per-inch process, fits, washes and treatments.

Working in close partnership, the collaboration is comprised of a Denim Trucker Jacket, Hooded Sweatshirt, Denim Cargo Pant, 6-Panel (available at a later date) and Beanie. Celebrating distinct elements of True Religion, the special range features the iconic horseshoe was born from the silhouette of a Buddha's smile, a co-branded take on the smiling Buddha motif and signature stitching design.

True Religion x Supreme Fall 2021 collaboration will see a global release, available via the streetwear imprint's website on September 30, 11 a.m. EDT in the United States and October 2, 11 a.m. JST in Japan.

For more contemporary fashion, Josué Thomas recently announced the closure of GALLERY DEPT.

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True Religion x Supreme Fall 2021 Collaboration

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Following its team-up with Thrasher, Supreme is now set to release its surprising collaboration with True Religion for Fall 2021. The latest collision was initially revealed by Supreme team rider Tyshawn Jones and caught the attention of many with its unexpected nature.

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Alone in the Woods: Harmony Korine's The Legend of Cambo (Full Length)

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BAYELY MOITRA AS BIBBY SAWYER  - FIRST SHOOT (FAV IMAGE)

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BAYELY MOITRA AS BIBBY SAWYER  - FIRST SHOOT (FAV IMAGE)

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KEY POINTS
- IMAGE OF CHARACTER
- VISIBLE TITLE AND LOGOS
- MOVEMENT COULD BE INTERESTING