Liam was drawn to Las Vegas by the Donna Tartt novel The Gold Finch, with the main protagonist and lost soul Theo spending time in the city. Vegas sits on the edge of the desert and on the edge of reality. Learning from Las Vegas, the seminal Post-Modernist manifesto by ’less is a bore’ architect; Robert Venturi praised the Vegas strip for being all imagery and sign, prioritising pow and wow, over the then prevalent quasi-religious orthodoxy of machinery for living in.
Course, Venturi couldn’t have foreseen how fty years on, the landscapes and architecture of Las Vegas would look to millennials and Gen Z; more like our everyday than anywhere else outside of a computer game. Or, as Liam says, the shimmering city in the desert is all “hyper real and surface texture”.
Hyperreality is something our generation can’t drop: “everyone I know is worried about the future, no one I know wants to be ordinary. We’re always competing against this hyperreal version of ourselves.” This post-millennial dread informs Liam’s riffs on dystopian and coming of age themes. Las Vegas, he says, “is a dystopia that’s real but as made-up as the rest” a land of “extra everything” for a generation who feel extra-everything is their right.
So, what’s Liam Hodges’ guy look like in Vegas? “Outdoorsy but not, easy-wear slick trash.” To that end there’s a leopard print and flames with everything. Leopard print cardigans, waistcoats and shorts, bowling and cowboy shirts with flames, Hawaiian shirts with ash tattoo details, sunbleached track suiting, plaid all day pyjamas, and short shorts. Matching this easy extra everything aesthetic is Liam’s take on FILA’s mid-nineties chunky running shoe, the Mindblower. T-shirt and hoodie prints include a centurion chest plate, the legend “Alone Together” inspired by the nuclear testing museum and a Tee inspired by The Gold Finch that reads “I’ll shave my head I guess and get a tattoo”.