Ashish gets us, plain and simple. Every season we look forward to scoping out their high-glamour streetwear (and Beyonce-themed ensembles) at London Fashion Week, but for their Spring/Summer 2015 collection, Ashish has officially outdone themselves. Not only are they the only brand to use all-black models on their runway, but they always find a way to squeeze in a killer pop-culture homage (or two!) into their collection.
Ashish created the most badass outfit ever by pairing a Miley Cyrus-inspired sweater with jeans covered in middle fingers and cigarette packs inscribed with the words “F*** off.”
Miley’s nominated for “Best Pop” at this years MTV EMA’s which will be held in Glasgow on November 9th.
She is known for pushing the boundaries in pop music with her outrageous stage performances.
But Miley Cyrus’ latest look is perhaps her most bizarre yet.
The singer posted an Instagram shot on Sunday, which appeared to a be a flashback photo of when she was younger, yet, wearing a T-shirt with one of her more recent looks emblazoned across it.
The photoshopped image, shows a younger Miley wearing a T-shirt with the Miley we know now, smoking with slicked back long hair.
Miley left the caption blank, leaving her confused fans to wonder what the star was getting at with the modified image.
One fan mused that Miley was having her say on some of the criticism she’s faced while transitioning from a child star to a racy pop performer, which seems to be a fair assumption.
Miley Cyrus has been through a lot over the past few years.
From shocking audiences at the 2013 Video Music Awards with her outrageous and teddy bear-fueled performance of “We Can’t Stop” to breaking up with her longtime boo and fiance Liam Hemsworth, she’s had her hands full.
For most people, that would be too much to handle, but Miley seems surprisingly poised in a way that many of her peers lack.
Now we now part of the reason why: support from her dad. Apparently feeling down (even global pop superstars get the blues), Miley posted a text message reply from her dad (described as “the most magical hillbilly wizard of all time”) on her Instagram.
It probably doesn’t hurt that, along the way, she’s also had plenty of other awesome people supporting her decisions, from perennial cultural touchstone and Flaming Lips rocker Wayne Coyne —she compares to her dad in the Instagram caption, to Kanye West himself.
Her dad encouraged her not to worry about stuff beyond her control, saying “that would make you a bitter ole man and that’s not cool,” he said. Indeed! After checking out her debut art show that premiered during NYFW, it’s safe to say that some of that hillbilly wizardry has rubbed off on Miley too. Like father like daughter!
Miley Cyrus has flaunted her surprising range as of late, by covering Fleetwood Mac, OutKast, The Beatles (alongside The Flaming Lips, no less) and The Smiths. Now, she continues to surprise with a new, lo-fi cover of “Babe I’m Gonna Leave You,” as made famous in 1969 by Led Zeppelin.
Rolling Stone initially panned Led Zeppelin’s version of the Anne Bredon-written song upon its 1969 release. “The song is very dull (especially on the vocal passages), very redundant, and certainly not worth the six-and-a-half minutes the Zeppelin gives it,” writer John Mendelsohn said.
With her version (titled “Baby, I’m Gonna Leave You”), though, Cyrus reminds of why Led Zeppelin’s take would later be hailed as one of its finest moments. Each time the Bangerz star sings the driving hook, her loud wails cut through the heavy guitar riffs and drums — a bold reminder that yes, she can sing.
Hear Cyrus cover “Babe I’m Gonna Leave You” below.
Recently I met a 40-year-old journalist from Mexico City at a nightclub in Las Vegas, who tried to sell me on the sex appeal of Miley Cyrus and her “Bangerz” tour. Amongst the teenage twerking and pole-dancing taking place around us, I responded that the tour was more cute and saccharine than actually sexy, even with Miley exploring her post-Disney star sexuality on-stage.
Sex appeal is obviously subjective, but I realized something as he described her entrance onto the stage, where she walks out of a giant replica of her head, going down a slide meant to be her tongue.
Miley is comfortable being a caricature of herself when she performs.
The tour is a visual extension of her 2013 MTV VMAs performance, which was primarily concerned with getting viewers’ attention by any means necessary (including by stroking Robin Thicke’s crotch with a foam finger). During “Bangerz,” she wears a cannabis print leotard, rides a giant, phallic hot dog, and simulates oral sex on a dancer, who wears a mask resembling Bill Clinton.
The live show is intentionally kitschy, provocative, and hard to look away from, like the arts and crafts Miley’s been doing late at night and sharing on Instagram for months. In a recent cover story with V magazine she says, “I just sit around and smoke weed anyway, so I might as well sit around, smoke weed, and do something.”
Miley also admits that the collaged, glued together pieces are a metaphor for her life—a junk amalgamation of a lot of “shit things” happening to her—her dog dying, being hospitalized on tour, and having a very public breakup—after always being “so fucking lucky.”
With the help of artist Todd James, who designed the dancing bear suits in her VMA performance, Miley has begun to create visual objects that match the ones she usually sings and dances in front of—in the form of sculptures and accessories. Like her tour, these works purposefully explore sex and sexuality. When referring to a particular piece, she tells V,
“[Todd] involves sex in his pieces in a really cool way, which is what I want to do. I feel there’s something fairly sexual here, besides just the dick. There’s something sexy about the masks. They’re a little fucked up and childish.”