Journal

In this project, the selection of colors, base materials, and accessories is approach with particular seriousness. Each element is teste and reconsider to ensure it respond well to the dyeing process, maintaining balance between structure, texture, and finish.

Every season needs a centerpiece, and for Fancy, it arrives not through from fenomenal silhoutte or heavy heritage, but through a vibrant, color driven statement jacket, the kind of piece that defines the mood before a word is spoken. At first glance, the silhouette nods to familiar James Boogie military discipline. But once the colors hit, everything shifts.

Before talking about guitars or indie pop, Paul Stewart will probably mention the cut of a double-breasted suit, the swing of 1930s jazz, or the smell of well-aged fabric. Known as the guitarist of Blueboy, one of the most beloved bands from the Sarah Records era, Paul’s charm goes beyond jangly guitars and melancholic melodies. He lives and breathes the grace of the past, where style, music, and sincerity were woven with quiet perfection. For Paul, the 1930s isn’t just a period in history, t’s a state of mind.  A world where elegance meets craftsmanship, where cars looked like sculptures, and where clothing was made to last for decades. His fascination with that decade reflects not nostalgia, but a belief that beauty and integrity never really go out of style. We talked with Paul about his music, his love for vintage fashion, and the timeless inspiration he finds between melody and tailoring. (Sebelum berbicara tentang gitar atau musik indie pop, Paul Stewart mungkin lebih dulu akan menyebut potongan jas double-breasted, irama swing dari musik jazz tahun 1930-an, atau aroma kain tua yang terawat baik. Dikenal sebagai gitaris Blueboy, salah satu band paling dicintai dari era Sarah Records, pesona Paul melampaui denting gitar dan melodi melankolis. Ia hidup dan bernapas dalam keanggunan masa lalu, di mana gaya, musik, dan ketulusan berpadu dengan kesempurnaan yang tenang. Bagi Paul, tahun 1930-an bukan sekadar periode sejarah, melainkan sebuah state of mind. Sebuah dunia di mana keanggunan bertemu dengan keahlian tangan, di mana mobil tampak seperti karya seni, dan pakaian dibuat untuk bertahan selama puluhan tahun. Ketertarikannya pada dekade itu bukan sekadar nostalgia, melainkan keyakinan bahwa keindahan dan integritas sejati tak akan pernah lekang oleh waktu. Kami berbincang dengan Paul tentang musiknya, kecintaannya pada fesyen vintage, dan inspirasi abadi yang ia temukan di antara melodi dan jahitan.) Hallo Paul Stewart, how are you? (Halo Paul Stewart, apa kabar?) I am well thank you, it is good to hear from you again. (Aku baik, terima kasih. Senang bisa mendengar kabar darimu lagi.) And what’s your daily activity now? (Lalu, apa aktivitas harianmu sekarang?) These days I am writing music and recording in my home music studio, I live in the countryside so I like to explore the forest, listen to new music and try and keep fit by exercising at the gym. (Akhir-akhir ini aku menulis musik dan merekam di studio musik di rumahku. Aku tinggal di pedesaan, jadi aku suka menjelajahi hutan, mendengarkan musik baru, dan berusaha menjaga kebugaran dengan berolahraga di gym.) Considering you were the guitarist for Blueboy, what do you remember most from Blueboy’s early days at Sarah Records? (Mengingat kamu adalah gitaris Blueboy, apa yang paling kamu ingat dari masa-masa awal Blueboy di Sarah Records?) Sarah Records was a very special record label because of two things: firstly because of the music and bands that were on the label and secondly, because it was run by two wonderful people. Matt and Clare were so generous with their time and allowed us to be creative and grow as a band in our own way. They were very supportive and always encouraged us to play and record as much as we could. (Sarah Records adalah label yang sangat istimewa karena dua hal: pertama, karena musik dan band-band yang tergabung di dalamnya; kedua, karena label itu dijalankan oleh dua orang luar biasa. Matt dan Clare sangat dermawan dengan waktu mereka dan membiarkan kami berkembang serta berkreasi dengan cara kami sendiri. Mereka sangat mendukung dan selalu mendorong kami untuk bermain dan merekam sebanyak mungkin.) How does it feel to be part of such a legendary label, alongside bands like The Field Mice or Heavenly? (Bagaimana rasanya menjadi bagian dari label legendaris itu, bersama band-band seperti The Field Mice atau Heavenly?) We felt very lucky and privileged to have been a part of the Sarah Records story. (Kami merasa sangat beruntung dan terhormat telah menjadi bagian dari kisah Sarah Records.) Do you feel like Blueboy’s music was treated differently back then than it is now, now that people see Sarah Records as an indie pop icon? (Apakah kamu merasa musik Blueboy diperlakukan berbeda dulu dibanding sekarang, ketika orang melihat Sarah Records sebagai ikon indie pop?) Back then, the media and music press did not take the label seriously but now, thirty years later, it is respected and recognised as an important part of British indie-music culture. (Dulu, media dan pers musik tidak menganggap label itu serius. Tapi sekarang, tiga puluh tahun kemudian, label itu dihormati dan diakui sebagai bagian penting dari budaya musik indie Inggris.) How did being part of Sarah shape your perspective on making music outside the mainstream industry? (Bagaimana menjadi bagian dari Sarah Records membentuk pandanganmu tentang membuat musik di luar industri arus utama?) Being part of an independently run label taught us that it was possible to be successful and gain fans purely based on the music, not being mainstream, commercial or relying on image or being controversial. (Menjadi bagian dari label independen mengajarkan kami bahwa sukses dan mendapatkan penggemar bisa dicapai murni karena musik, tanpa harus menjadi arus utama, komersial, bergantung pada citra, atau bersikap kontroversial.) Do you think the ethos of Sarah Records still influences independent music culture today? (Apakah kamu pikir etos Sarah Records masih memengaruhi budaya musik independen saat ini?) Yes, I think that legacy is still evident today with emerging new labels like Precious Recordings and Skep Wax. (Ya, aku pikir warisan itu masih terlihat hingga sekarang melalui label-label baru yang bermunculan seperti Precious Recordings dan Skep Wax.) If Sarah Records had survived into the streaming era, would its playlists be more like mixtapes or protest banners? (Jika Sarah Records masih bertahan hingga era streaming, apakah playlist-nya akan lebih mirip mixtape atau spanduk protes?) I think it would have been both as there was sometimes a political edge behind the music. (Aku rasa keduanya, karena terkadang ada sisi politis di balik musiknya.) If Sarah Records had been a tailor’s shop instead of a label, what kind

We catch up the man who comes with some passionate with capturing the moment, family-man, and he is a photographer. We talk about the colour, a reason, and what things can make him laugh out loud. He shared the unpredictable story to our article who called, James Boogie People. Here we comes, Ismail Zaidy. (Kami bertemu dengan pria yang datang dengan hasrat mengabadikan momen, family-man, dan seorang fotografer. Kami berbincang tentang warna, gambar, tempat, alasan, dan hal-hal yang dapat membuatnya tertawa terbahak-bahak. Ia berbagi kisah tak terduga pada artikel kami yang berjudul, James Boogie People. Inilah dia, Ismail Zaidy.) Could you tell us a bit about your childhood in Marrakesh and how that environment shaped your visual perspective? (Bisa ceritain sedikit tentang masa kecilmu di Marrakesh dan gimana lingkungan itu membentuk perspektif visualmu?) I grew up in Marrakesh surrounded by colors, textures, and a constant play of light and shadow. Rooftops became my playground, and later, my studio. That environment taught me to see beauty in simplicity and to transform the ordinary into something poetic. (Aku tumbuh di Marrakesh yang penuh warna, tekstur, dan permainan cahaya dan bayangan. Atap rumah jadi taman bermainku, lalu berubah jadi studio. Dari situ aku belajar melihat keindahan dalam hal-hal sederhana dan mengubah yang biasa jadi sesuatu yang puitis.) When was the first time you felt that “photography is not just a hobby, but part of my identity”? (Kapan pertama kali kamu merasa “fotografi ini bukan sekadar hobi, tapi bagian dari identitasku”?) When I started photographing my siblings on the rooftop, I realized it was more than images—it was about memory, family, and identity. That was the moment it became who I am. (Saat aku mulai memotret saudara-saudaraku di atap, aku sadar ini lebih dari sekadar gambar—ini tentang kenangan, keluarga, dan identitas. Sejak itu, fotografi jadi bagian dari siapa diriku.) Who or what, outside the world of photography, has had the greatest influence on your work? (Siapa atau apa di luar dunia fotografi yang paling memengaruhi karyamu?) My family first and foremost. Their presence and trust shaped everything. Also, Moroccan culture—the fabrics, music, and traditions—constantly inspire me. (Pertama tentu keluargaku. Kehadiran dan kepercayaan mereka membentuk segalanya. Selain itu, budaya Maroko—kain, musik, tradisi—selalu jadi sumber inspirasi.) If you weren’t a photographer, what other field do you think you would pursue? (Kalau kamu bukan fotografer, bidang apa yang kira-kira akan kamu tekuni?) Something creative still—maybe design or architecture. I enjoy building things that last and tell stories through form and space. (Masih di jalur kreatif—mungkin desain atau arsitektur. Aku suka bikin sesuatu yang bisa bertahan lama dan bercerita lewat bentuk serta ruang.) You often work with your siblings. How does family influence the dynamic behind the scenes? (Kamu sering bekerja bareng saudara-saudaramu. Seberapa besar pengaruh keluarga terhadap dinamika di balik layar?) It makes the process very natural. There’s no barrier, no performance. They know me and I know them. That intimacy translates into the work and gives it honesty. (Prosesnya jadi alami banget. Nggak ada batasan, nggak ada kepura-puraan. Mereka kenal aku, aku kenal mereka. Kedekatan itu masuk ke karya dan bikin hasilnya jujur.) Is there a photograph that was emotionally the hardest for you to take? Why? (Ada nggak foto yang paling berat secara emosional buat kamu ambil? Kenapa?) Yes, photographs where I explored themes of absence. Capturing the feeling of someone missing in a family portrait is emotionally heavy because it reflects real moments in life. (Ada. Foto-foto yang mengeksplorasi tema tentang kehilangan. Menangkap rasa “ada yang hilang” dalam potret keluarga itu berat, karena mencerminkan momen nyata dalam hidup.) You often incorporate fabrics and face coverings in your work. How much of that element is connected to your personal life or cultural background? (Kamu sering pakai kain dan penutup wajah di karyamu. Seberapa erat elemen itu dengan kehidupan pribadi atau budaya?) Completely. Fabrics are part of Moroccan daily life—whether it’s clothing, household, or ceremonies. Covering the face is both cultural and symbolic: it protects identity while inviting the viewer to imagine. (Sangat erat. Kain adalah bagian dari kehidupan sehari-hari orang Maroko—baik untuk pakaian, rumah, atau upacara. Menutup wajah itu sekaligus budaya dan simbolik: melindungi identitas sekaligus mengundang penonton untuk membayangkan.) What do you do when you experience a creative block? (Apa yang biasanya kamu lakukan kalau lagi kena “creative block”?) I step away. I go to the gym, travel, or just spend time with family. Inspiration always comes back when I live fully outside the camera. (Aku menjauh dulu. Ke gym, jalan-jalan, atau sekadar waktu bareng keluarga. Inspirasi selalu balik lagi ketika aku hidup penuh di luar kamera.) What technical mistake or spontaneous moment ended up producing one of your favorite photographs? (Ada nggak kesalahan teknis atau momen spontan yang justru menghasilkan foto favoritmu?) Once, strong wind blew the fabric I was using into a different position, and it completely transformed the image. That accident gave me a new direction in my work. (Pernah, angin kencang bikin kain yang kupakai bergeser posisinya, dan itu langsung mengubah total fotonya. Kecelakaan itu malah ngasih arah baru buat karyaku.) In a fast-paced world, why do you choose to maintain a slower and more intimate tempo in your work? (Di dunia yang serba cepat, kenapa kamu memilih tempo yang lebih lambat dan intim dalam karyamu?) Because that’s where meaning lives. Photography for me is not about speed but reflection. A slow pace allows intimacy and poetry to emerge. (Karena di situlah makna tinggal. Buatku fotografi bukan soal kecepatan, tapi refleksi. Ritme lambat memungkinkan keintiman dan puisi muncul.) If all cameras disappeared from the world tomorrow morning, how would you continue telling stories? (Kalau besok pagi semua kamera di dunia hilang, gimana kamu bakal tetap bercerita?) (Through writing, or maybe painting. I believe storytelling is larger than the tool—it’s about finding a way to transmit what you feel.) (Lewat tulisan, atau mungkin melukis. Menurutku bercerita itu lebih besar dari sekadar alat—yang penting menemukan cara buat menyampaikan perasaan.) How does it feel to see deeply personal work spread widely on

Every season has its anchor, and for Frolic it is the waxed cotton hunting jacket. At first glance, it’s a nod to heritage: a piece that feels familiar in its structure.

JAMES BOOGIE James Boogie is a pop military brand established in 2017 in Bandung, Indonesia. A fashion brand that was influenced by pop subculture and elegant modern military fashion. Our logo expresses our unique characters. Which combine strength with a touch of classiness. The tailed ancient warrior’s helmet icon inspired by the braveness of the ancient warriors. With that idea, James Boogie becomes a symbol of strong, elegant, iconic, and flawless fashion. Creating a new lifestyle with fashion. Be bold and provocative. Stay classic but not conventional. You can combine the strong and elegant style becomes a flawless style. Be James Boogie. James Boogie is an experimental workshop of ideas. Unfettered by preconceived style codes, the creations of the brands represent the answer to the exploration of society. At the same time, serving as precursors and pioneers of ever-changing scenarios. A perspective that places at the heart of it’s inspiring and operative principles basic values as uncompromised quality, valorisation of labour and freedom of creative expression. James Boogie represents a space where we can express our creativity in total freedom, doing what we love, without having to worry about all the rules of the fashion industry. Trying to work with the proper materials, coming up with new concepts wrapped in old concepts that we think are unique,and sometimes creating something a little crazy. MATERNAL DISASTER Maternal Disaster is a gripping and unconventional clothing brand based in Bandung since 2003. Represents not only a more refined and forward-thinking brand, we reflect our each issues like a musical albums and every articles is like a song we write. Driven by the dream-quest of demon force that bore black mass hysteria, a carnal beast, living in a cosmos that is indifferent to our existence. Maternal Disaster is dangerous flame of brand that seemed lost for many years and that now once again has been set loose upon everyday society & to decipher the world objectively. Four young devils were brought together by our passion for music. Our first love has always been and will always be music, we try to give back to our roots through the products and opportunities we provide through the company. We remains extremely involved in the production and direction of Maternal Disaster, maintaining the respect over communities we continue to support our friends, which helps us fuel and inspire our original vision. Our goal for Maternal Disaster is to evoke emotions then create topics of discussion through our designs and boldly stated our idea at the hand of youth culture. JAMES BOOGIE | MATERNAL DISASTER COLLABORATION 2025 For the second time, The heritage of field military and pop lifestyle brand James Boogie , in alliance with the gripping and unconventional brand Maternal Disaster. The second chapter of James Boogie | Maternal Disaster collaboration explores the two brand’s identities. In this collaboration, James Boogie and Maternal Disaster agreed to launch jackets, polo shirts, t-shirt and trousers. Combining the two colors and characters of James Boogie and Maternal Disaster. All products in this collaboration have different colors and characters, but still represent the characters of James Boogie and Maternal Disaster. The initiation of this collaboration was straightforward. It began with the mutual trust established during our previous partnership and our shared determination to invigorate Bandung’s subcultures. We aimed to continue this spirit on a broader scale. Despite our differing backgrounds and styles. Maternal Disaster and James Boogie found a way to coexist harmoniously, allowing the collaboration to proceed effortlessly. However, the resulting products are far from simple. They represent a new fusion, where both backgrounds merge with a shared essence. Maternal Disaster’s strength lies in its distinctive graphics, while James Boogie is consistent with its pop military aesthetic in various outerwear. This combination has resulted in a standout collection that maintains the strong character and DNA of both brands. The collaboration not given a specific title. Instead, we’re introducing new colors, iconic logos, and a character palette derived from both brands. Given the explanation above, the merging of these two distinct characters and colors. Forms the foundation of this Maternal Disaster and James Boogie collaboration. Making it something truly worth anticipating. Find out more about James Boogie | Maternal Disaster, or click here to shop the collection.