Stranger Things
The somewhat bizarre crowd at the premiere of Hong Kong art director Tim Yip’s Love Infinity on March 24 almost stole the limelight from his new film. In a grand hall at the London’s National Gallery grand hall full of richly coloured Monets and Northern Renaissance art, a London-based artist who goes by the name of Pandemonia walked around in her latex blond wig, face and pink V-neck dress; fashion blogger Diane Pernet, in her black gown and with a shroud attached to her dark, voluminous hair, lurked like a shadow; performance artist Daniel Lismore’s chain mail armour, draped over his peach pink robe, rattled beneath his golden headpiece.
“They wouldn’t look so strange if they were characters from the paintings, which are full of people in fascinating clothes in their respective eras,” says Yip a month later. These eccentrically dressed “characters” with their very strong, very individual personalities have one thing in common: they are all part of Yip’s two films and , collectively known as , documenting east London’s history and cultural icons.
