Bedouin CEO/Designer Ashley Borders featured in online blog on “La Vie Boheme”

Bedouin CEO/Designer Ashley Borders featured in online blog on “La Vie Boheme”

Bedouin’s Founder and Designer Ashley Borders is a featured model and stylist in Photographer Adriana Boatwright’s latest fashion/photography blog on “La Vie Boheme” which Borders primely examples.. As said by Bridgette Bardot 

“I’m a girl from a good family who was very well brought up. 
One day I turned my back on it all and became a bohemian.” 

Faherty Brothers: Designing for Surf and Summer!


We talked to twins Mike, left, and Alex Faherty about the launch of their new line Faherty Brand,
which centers around never-ending summer living. They shared their favorite surf spots, too.

The Faherty Brand is…

MF: For us, life’s great moments are at the beach. It’s been our favorite place since we were kids,
growing up in Spring Lake, New Jersey. This brand is an extension of our family barbecues and summer moments and the casual laid-back vibe we grew up with.

Our back story…

MF: I worked at Ralph Lauren, but we’ve been talking about having a surf line since we were, like, 12 years old.
I even wrote my college essay about starting this company and having clothes you could wear in the city
that made you feel like you were on the beach.
AF: He titled it Coast to Curb. All the creative stuff is really his vision. My mind is more about the sales and inventory.
I worked in finance, which allowed me to gain a skill set to help build this fashion brand.

Our swimwear…

MF: Is made primarily from recycled materials. We’re obsessed with sustainability in apparel. It was also important for our swimwear to not only look amazing and sexy, but be functional too. Girls go to the beach in bathing suits and all they’re doing is pulling them up. We tested ours on girlfriends who are surfers and paddle boarders.

The best part about working with family…

MF: You’re building something special and are able to share it every day with the people you love. Our mother helps run the warehouse, our sister is in charge of sales, our logistics partner is a guy we grew up with…. If you’re going to have to pay someone, might as well keep it to the people you trust and love.

And the most challenging part…

MF: You see them all the time. There is no escape, even when you’re in chill mood.
AF: There’s no “off” time. We’re always thinking about the business, which hopefully is also an advantage we have.

Best business advice we’ve ever received…

MF: What I learned from Ralph [Lauren] is to never waffle. You can see his eyes look at something and, in a heartbeat,
know if he liked it or not.

And our advice to working with family…

AF: Every family has a different dynamic. You have to be super-sensitive to what that is and have the ability
to know what everyone is good and not good at. There can’t be any egos and the trust has to be there.

Favorite surf spots…

MF: Puerto Rico, Costa Rica (our mom used to take us there when we were kids) and Indonesia. One of my favorite surfing times was in Sri Lanka — no one was around, just me and a few other people.

Favorite beach grub…

MF: You gotta go with fish tacos. Although in Santa Monica, there’s this beach shack called
Cha Cha Chicken that has the most amazing jerk chicken enchiladas.
AF: Another thing, as a surfer you tend to go to the beach early in the morning. In New Jersey, there’s this place called Ray’s Cafe, which is famous for this pork roll — salami, bacon, baloney, all that stuff rolled up, fried and topped with an egg and cheese. That’s what everyone eats for breakfast.


The Great Gatsby- Q & A with the film’s Costume Designer


The Great Gatsby’s Costumer-Catherine Martin Q&A

Before Gatsby, did you have any Jazz Age icons?
I really admired Josephine Baker. She’s about a change in thinking. Even though she suffered indignities and great racism, it was the birth of much more freedom of thought. She was a big thinker. The most salient thing about the Twenties is that it was one of the most revolutionary times for women. It paved the way for the feminist revolution.


And then Daisy Buchanan is at the other end of the spectrum…
She was a very interesting character for me. She’s a product of her times. Bred to be a society trophy wife, she achieves that by the time she’s 18 and then realizes that it’s hollow. But she’s not trained to do anything else. She’s a bird in a gilded cage. Daisy has enormous charm and charisma. That bursts out of the screen with Carey Mulligan. You can’t help but see why a boy from Nowheresville is attracted to this enormously sophisticated, attractive girl who is the pinnacle of what he imagines people who live the great life are like.

So you like her.
I like her. I don’t want to be her. I find it frustrating, because I’m a doer. But I think she’d be fun to wile away an afternoon with.

And then you worked with another strong woman, Miuccia Prada, on the film.
How did that come about?

It came out of two things: a very long friendship Baz has with Miuccia, and one of the design precepts he gave me, which was that he wanted the world of New York not to feel nostalgic. He wanted young, visceral and modern, as it would have felt to Scott and Zelda or to the characters. The skyscrapers and hemlines and hair were going up. People were dancing on tabletops. We were in the Jazz Age. And I think that Miuccia and Baz both use historical references in their work, but their work projects to the future. And I thought how interesting it would be to inject the party scenes with that excitement. It was a subliminal wink to the current.

What’s your favorite trend to come out of the Twenties?
>Either beaded fringe or a tango shoe. The tango shoe is sort of strange and beguiling and a weird combo of 20th and 19th Century. It can look enticing.

The key to working with family successfully?
I think it’s arguing a lot. A sense of humor. Which thankfully I don’t think we take ourselves too seriously. And remembering that today’s rooster is tomorrow’s feather duster. Pride does come before a fall. It’s about open dialogue and opinions being shared.

Favorite films (other than Baz’s)…
The Wizard of Oz changed my life because it was such an extraordinary journey to take when I was 10. And I was so scared of the monkeys, and it put me on such a trip. I loved it. I wanted ruby slippers and blue socks. It was so wrong, it was right. And then from a fashion perspective, the movie that changed my life when I was 13 was Gone with the Wind — just the whole design of it.

Favorite Fitzgerald book…
With Fitzgerald, to know the book is to know your firm favorite. I’m sure if I read the others, they would be new favorites. But right now it’s The Great Gatsby.


Fashion, Film and the Jacket



Those who want to stick it to the man are generally bound to have a good jacket. In this list we chart the best threads in our characters’ arsenal for kicking ass – from the snakeskin and fur coats of blaxploitation cinema to the ubiquitous leather of the American rebel, and we come out the other side with the ultimate postmodern symbol of the consumer fetish in that scorpion jacket in Drive.

The leather jacket, which features heavily in this list, has a rich cinematic history – from the American outlaw biker epitomised by James Dean and Marlon Brando to its female equivalent in the leather-clad dolly bird Marianne Faithfull in The Girl on a Motorcycle (1968) and Madonna’s cult ’80s look. Finally, it reemerges as a sleeker ’90s number in Fight Club.

Most of the characters on this list have one thing in common – on the fringes of society and facing pressure from The Man, they’ve finally had enough. Here’s to fighting the revolution in a leisure suit.

The Wild One (Laslo Benedek, 1953)  
It seems appropriate to start with the quintessential film jacket to end all film jackets. This leather number (a Schott Perfecto, if you’re interested, marked with the insignia of the Black Rebel Motorcycle Club) led to a surge of popularity and sudden banning of leather jackets in schools around the country. The jacket was thought to inspire a threatening new demographic – the teenager, in their pursuit of wild kicks. “What are you rebelling against, Johnny?” “Whaddaya got?”

Cleopatra Jones (Jack Starrett, 1973)

The Amazononian kick-ass babe Tamara Dobson plays Cleopatra Jones, a high fashion government agent trying to sort out some drug traffickers – all while keeping cool in a fur bomber jacket, with flares and heels.

Wings of Desire (Wim Wenders, 1987)

Demel (Bruno Ganz) is an angel hovering high above the city of Berlin. As he falls in love with trapeze artist Marion (Solveig Dommartin), and surrenders his angel immortality, the long black coat of the angels is replaced by a bright and mismatched second-hand jacket. He wanders around awkwardly. The coffee is too hot. The perils of an all-too human world besiege him.

Scorpio Rising (Kenneth Anger, 1964)

The iconic biker’s leather jacket is reinterpreted in Anger’s beautiful experimental film, as we follow a gang of gay nazi bikers as they wreak havoc and get into fights. The sequins on the jacket double up as the opening credit sequence, too.

Rebel Without A Cause (Nicholas Ray, 1955)

Another iconic little number here: James Dean’s bright red jacket seduced audiences when it first hit the screen, setting his character apart as a man of passion at odds with society, and irrevocably changing what teengagers perceived as ‘cool’. This may well be the most good-looking jeans-and-white T-shirt combination in cinema. Go on, show me a better one.

Wild At Heart (David Lynch, 1990)

“This here jacket represents my individuality and belief in personal freedom”. Little known fact: Sailor’s famous snakeskin jacket was actually Cage’s own.

Shaft (Gordon Parks, 1971)

Private detective Shaft (Richard Rowntree) is a man in charge of his own destiny, and looks badass doing it in a series of leather jackets from black to suede. As “the cat who won’t cop out, when there’s danger all about”, Shaft patrols the streets of a rather dingy looking early ’70s New York.

Miami Vice (TV show, 1984-89) 

’80s pale-coloured power suits are clearly the name of the game. The sheer volume of pastel shades (Crockett and Tubbs wore about 5-8 outfits in each show, ranging from pink, blue, green and fuschia) was meant to replicate the Art Deco style of Miami’s architecture.

The Baader Meinhof Complex (Uli Edel, 2008)

When not sunbathing topless in a terrorist bootcamp in Palestine, the RAF like to show off their radical chic credentials in a classic take on the leather-jacket-and-shades combination. Violent revolutionary Andreas Baader (Moritz Bleibtreau) at one point chucks his beloved jacket at a young revolutionary. Possessions are evil, man.

Pulp Fiction (Quentin Tarantino, 1994)

As prizefighter Butch Coolidge (Bruce Willis), that suede jacket cuts a mean shape whether he’s jacking motorcycles, or murdering a sadistic shop owner with a katana in a sex dungeon. “Zed’s dead, baby, Zed’s dead”.

Drive (Nicolas Winding Refn, 2011)

A white satin bomber jacket with an embroidered scorpion technically shouldn’t work. But when’s it hanging off the chiselled frame of Ryan “Least Convincing Badass in Hollywood” Gosling, it looks pretty darn good. The film’s costume designer Erin Benach based the look on Gosling’s love of Korean souvenir jackets from the ’50s. The scorpion came later as a tribute to Anger’s aforementioned Scorpio Rising. Rest assured you can buy yours at one of several online retailers.

Desperately Seeking Susan (Susan Seidelman, 1985)

Susan (Madonna)’s jacket – with its exotic gold pyramid design with an eye on the back, provides the link between her and Roberta, as identities mix and collide, inextricably linked in the plot through the very jacket. As Laura Mulvey, in 1998, observed: “The jacket will provide the means of transporting Roberta into the other world where she in turn will get caught up in danger and romance by temporarily ‘becoming’ Susan”. The gold pyramid reflects the exotic life that Roberta associates with Susan, while resembling the dollar bill. Like the scorpion jacket in Drive, this look will come to make big bucks.

Midnight Cowboy (John Schlesinger, 1969)

Joe Buck (Jon Voight) is a naive and well-meaning Texan, whose assertive Southern masculinity is emphasized by a cowboy hat and boots, and that fringed suede jacket. Unfortunately, in the late ’60s New York “scene”, this translates as camp kitsch, and he winds up hustling men in old cinemas.

She-Devils on Wheels (Herschell Gordon Lewis, 1968)

A key fashion item of any gang is the labelled jacket (see here). Also seen in The Warriors andGrease, the colourful varsity “Maneater” jackets of this fearsome all-female biker girl gang The Man Eaters, would make a cracking look for a hen night.

The Runaways (Floria Sigismondi, 2010)

Costume designer Carol Beadle did a great job at capturing the glam-rock style of ’70s girl band The Runaways. Joan Jett (Kristen Stewart) wears some great leather jackets here, but it’s this hot pink power shoulder number that steals the show, effecting a move away from the band toward her solo career.

Kill Bill: Vol. 1 (Quentin Tarantino, 2003)

Uma Thurman’s bright yellow biker jacket holds out as a pretty iconic look for being a badass bitch.

Superfly (Gordon Parks Jr.,1972)

Costume designer Nate Adams coordinates some awesome threads for this follow up to Shaft – expect sweet sheepskin and snakeskin and suede for sticking it to the man in style.

Fight Club (David Fincher, 1999)

Tyler Turden (Brad Pitt)’s stylish, worn red leather jacket resembles a contemporary take on James Dean’s in Rebel Without A Cause. Its origins are disputed – either costume designer Michael Kaplan bought it at Decades vintage shop, or it was a one-off original design.

Blue Velvet (David Lynch, 1986)

Dean Stockwell plays Ben, a camp drug dealer pimp in a super sweet paisley satin smoker’s jacket, ruffled shirt and smoking from a cigarette holder. Though only in one scene, he owns it with his rendition of Roy Orbison’s “In Dreams”.

Mystery Train (Jim Jarmusch, 1989)

There are two defining jackets for the price of one here: Screamin’ Jay Hawkins blinkingly bright red suit number as the psychotic Memphis night clerk of a rundown hotel, and the labelled leather jackets of an Elvis-obsessed Japanese couple (played by Youki Kudoh and Masatoshi Nagase). It seems appropriate for a filmic homage to Elvis, the man who made the lary sequin jacket a quintessential part of costume history.