Blue Skies Forever
ELLE Singapore|May 2020
Blue Skies Forever
Joshua Vides is an unlikely artist. Through a digital connection, roped into the fendi universe by Silvia Venturini Fendi. As they put their heads together for pre-fall ’20, the result is a collection outlined with hopes and dreams
Andrea Sim

THE NAME GAME Core to the collaboration is Fendi’s logos, the double F and Pequin stripes, drawn by Vides for a sense of irreverence

Fendi is no stranger to collaborations with creatives from all fields and generations. One season sees prints derived from the sketches of an award-winning film director while, the next features logos reinterpreted by a digital artist discovered on Instagram. In his sophomore collaboration with Fendi, street culture cognoscente and multi-hyphenate Joshua Vides takes his iconic black marker to the brand’s Pre-Fall ‘20 ready-to-wear and accessories. Together, the Californian-born artist and Silvia Venturini Fendi lift the curtain on their creative relationship, the surreal world they’re building, and why they’ve ventured into uncharted territory.

Your black and white marker style has become an incredible signature of your aesthetic. Did you start out with the intention to build up such an instantly recognisable body of work?

Joshua Vides (JV): I have been drawing all my life and I started a streetwear brand when I turned 19. I was really into streetwear, at that time there were only a handful of brands, and I was like, “I think I can do this” — printing on T-shirts. I tried my hand at that and it turned into the next seven years of my life. My wife plays a big role in everything, and she was like, “You have been drawing this entire time. You are creative.” She’s called me an artist since I [started]; I just wasn’t prepared to call myself that. She asked me to start painting on canvases or objects, and to just paint. I had a background in graffiti, but I was very much square paint and aerosol, and I came up with this concept titled “Reality to Idea”, where basically I bring the surroundings back to their origins [through] a sketch. So, I predominantly work in black and white, and it’s now about two and a half years that it’s just been non-stop.


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May 2020