God's Favorite: Praying

August 03, 2021

When you search "Praying" on Google, thousands—and I mean, like, thousands—of photos come up. There's a mixture of sunsets and clear skies covered by the silhouette of clasped hands, or people perched on their knees, looking up; there's people in their rooms, or at a table, heads bowed in worship; and of course, there's a ton of of inspirational biblical quotes, the most common from 1 Thessalonians 5:16-18:

"Rejoice always, pray continually, give thanks in all circumstances; for this is God's will for you in Jesus Christ."

When you search "Praying" on Instagram or TikTok, you get a little something different: girls, tits out, in crop tops reading "Father Figure" or "God's Favorite;" people in bikinis and thongs emblazoned with The Holy Trinity and other biblical sayings, with "The Holy Spirit" or "The Land of Milk and Honey" strategically placed right on the crotch. You do still get some inspirational quotes: a white tee reads "I've been living in a khole," (undeniably inspirational—or at least, aspirational, if you ask me), and there's a sweatshirt that, depending how you read it, says either, "You Matter Don't Give Up," or "You Don't Matter Give Up."

Text by Alexandra Weiss
Photos by Jennifer Rovero

It's the perfectly ironic kind of post-internet branding that people online, filled with anxiety and sick of the influencer economy that runs on curated positivity, just can't get enough of. If you don't believe in God, or Gaia, or anything anymore... Convert. Accept Praying as your Savior. Psalm 37:3-4:

"Delight yourself in the Brand, and it will give you the desires of your heart."

Started by longtime friends Skylar Newman and Alexander Haddad, Praying has figured out a way to create a viral brand that's actually in on the joke. Whether they're printing "Goodbye Horses" on a crewneck or "Brangelina 2005-2016" on a bag, they've managed to parlay the things they find fucked up or funny (or sometimes both), into a successful brand, one that's constantly selling out their drops. In under two years, they've developed a cult following that includes perhaps the mainstream world's biggest Gen Z tastemaker, Olivia Rodrigo, and partnered on an exclusive collaboration with SSENSE. And they've done it all while still maintaining their outsider ethos. Simply: they've blown up, without selling out.

"For us, we like that the brand is ambiguous," says Newman about the various interpretations of their slogans and designs. "We're not trying to preach anything to anyone. It's funny, because you can take from it what you want."

"Right, like 'Goodbye Horses' is also just a funny saying," adds Haddad.

It's also the Q Lazzarus song from the infamous scene in Silence of the Lambs, when a serial killer, with a hostage elsewhere inside his home, applies lipstick while asking himself in the mirror, "Would you fuck me?" The song plays lightly in the background as he answers, "I'd fuck me. I'd fuck me so hard."

It's this type of duality—the kind that nods to Christianity, campy horror films and pop cultural icons of the past (like the aforementioned Brangelina, as well as Princess Diana and Twilight's Bella and Edward)—that makes Praying feel simultaneously nostalgic and distinctly modern, in a way that's emblematic of what everyone is craving in 2021. There's a level of irony, and despondency, but also, maybe, earnestness for the past. Looking back, things always seem a little easier... Like, remember Beanie Babies? But when you look a little bit closer, life has always been filled with anxiety, whether that of your parents not buying you the Princess Di purple bear collector's item, or the reality of her death. Things have always been pretty depressing, so why not have a laugh?

"A lot of our designs are just things we find funny, or the stuff that Alex and I talk about and joke about when we hang out. We never really thought they would resonate with people like this outside of our friend group," explains Newman.

But they have. And now the brand's biggest problem is keeping up with orders.

As of now, it's still just Newman and Haddad designing, producing and even shipping everything. They have plans to expand the operation, and their collections, but always want to remain true to the brand:

"There's just something about printing something straight on a garment," says Newman. "It's simple, it's funny, it works."

Clearly, they're right. Haddad, who comes from a background in fine art, and Newman, who spent time working on music merchandise, have combined those worlds to create Praying. The pieces function in the same way merch does—simple slogans, a kind of billboard to express what you like—but have the same subjectivity in meaning as modern art. We think we know what Jenny Holzer means when she writes "Protect Me From What I Want," but the reality is, it's more about what I'm thinking, feeling. The same goes for what you read when you see a Praying hoodie: "You Don't Matter, Give Up," or "You Matter, Don't Give Up." The reality there is that it's ambiguity is the best—and probably most saleable—part. I'm inclined to read it as a negative, a funny take on the anxiety we're all feeling in the midst of the pandemic. But I've seen influencers post selfies in the sweatshirts, encouraging their followers to "Keep going, even on your roughest days."

And that makes me laugh. It's like it says in Nehemiah 8:10:

"Do not grieve, for the joy of the Brand is your strength."

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After 30 years and over 100 cult fragrances, COMME DES GARÇONS PARFUMS 1994–2025 BY SIMONETT & BAER launches this month

December 17, 2024

“I have to add that the topic is, of course, an irrational one, because it's not art and it's not fashion. It has to do with scent, which is something in the air,” explains Dino Simonett, renowned art-book maker and designer/publisher of the new COMME des GARÇONS x SIMONETT & BAER book, which details 30 years of CDG perfumes.

“The moment you smell something is irrational,” he continues. “This book transports you and brings you to the idea behind the perfumes. People have gotten thousands of art catalogues from me, but this fucking perfume thing really drives people a little bit crazy, you know? Because everybody has this bottle; and that bottle smells like this on them; and this bottle I need; and all the memories and everything. I like it a lot that we made this.”

As fans and family of the world’s coolest brand prepared to gather at Dover Street Parfums Market in Paris to celebrate the launch of the book, our Editor-At-Large Paige Silveria shared some coffee and cigarettes with Simonett to discuss his wild trajectory, making books with Joseph Beuys and Tilda Swinton early on, and the importance of nonconformal thinking.

By Paige Silveria

This fucking perfume thing really drives people a little bit crazy.

Paige Silveria: Tell me about yourself. You make books.

Dino Simonett: My books are my art. Each book might be a painting or sculpture. And you should not do the same sculpture all the time. When you hike somewhere, you never should go the same way back home — this is something my mother taught me when I was young. In the same way, it's boring to make the same stuff all the time. So I try to find a way to invent my own language.

PS: This book you’ve made is really beautiful.

DS: It’s hyperrealistic larger-than-life images of boxes and flacons in an endless row presented on paper the thickness of a children’s book.

PS: I loved how it said in the press release that you woke up one Sunday morning and the idea for the book suddenly came to you.

DS: The backstory is that Remo Hallauer [COO of COMME des GARÇONS International] is a true book lover. We met at the Offprint book fair in Paris. And one day, shortly after peak COVID, this email came from him asking if I’d think about a possible collaboration with one of the young stars here — and no hard feelings, but it didn’t work out. So then, as it is in life, which is the essential thing, you have to have an idea. And most of the time, they’re not good enough. You have to have another and another and then you go, Ah ha! Perfume.

PS: And you’d already been pretty familiar with their fragrances?

DS: I’ve known this stuff since the beginning. I wore the first perfume they created. It was part of my life all the time, and I thought, It's so funny. There’s a connection with how I make the books: like two, three books a year, all collaborations and each is different. Just like their perfumes. So I immediately texted Remo.

PS: And what perfect timing, with the 30-year anniversary.

DS: Yes, but this was two years ago or so. I hadn’t had the jubilee in mind. It might not look like much, but there was a lot of work to do.

PS: Many of the advertisements and images weren’t archived, physically or digitally, right? You had to search all over for a good portion of the material?

DS: Well we also had to wait for the official deal to go through in the beginning. Adrian Joffe [President of COMME des GARÇONS International and Dover Street Market International] wanted to do it but he didn’t have the mind space at the time; they were about to open the Dover Street Market here in Paris. So we were on our own for a bit, developing the project from zero. We looked all over the Internet and tried to create the chronology. I had a young guy helping me. He kept reminding me to be patient and to continue to work on growing the book. The door was open, but we had to wait in front of the next room. So we took little steps to prepare ourselves. And stuff slowly worked out.

PS: And thank God for the Internet.

DS: Yes, because as you mentioned, there was no archive. We thought surely they’d have something in the basement. But no, that didn’t exist. At one point they sent us a list of all the perfumes so we had a clear checklist to manage. I had to become an expert.

PS: There are so many, over 100?

DS: Yeah, and at one point the CDG team was activated. It was like a machine and in the spring suddenly a load of stuff was coming. First we had to grow the grapes, then make the wine and then the grappa. And at the end, it's a really strong grappa. And so things came together, and then one day Adrian said, “All is fine, but Rei [Kawakubo] must now also approve it. This is how the system works.” But nobody had told me! So Remo met with Rei to show her the book.

PS: That’s a bit of pressure!

DS: She could have said no and we’d have to throw everything in the garbage, two years of work. There was indeed a little bit of pressure. But it was fine. She liked the book. Then at the end of this summer we met again and they asked if they could have some of the finished copies on 20 November in Tokyo. I said, “I’m sorry, what?” He was thinking that the book was finished, you know? I told him we still needed a lot of material to finish it. Sometimes it's nice though to have this pressure. It's motivating and thrilling when you finally accomplish it all.

PS: Let’s go back. How did your upbringing inform who you are?

DS: It has to do with nonconformal thinking. Most people think the same. And we’re constantly pressured as well, by everything around us to conform. You have to really fight to keep your head and so I had this upbringing with this rather eccentric mother who was absolutely nonconformistic in every way. She was resolute. Why should we follow the path of the masses? It was never my thing. Voilà.

PS: How were you in school?

DS: I was not so good at school. I was only skateboarding at that time. I was on the Swiss National Team. I even was here in Paris at a European championship when I was 15 at the Trocadero. And my mother said, “You are not going to school anymore. You need an apprenticeship. It makes no sense to send you to school any longer.” I was independent and had my first salary at 16.

PS: What were you doing?

DS: I was a carpenter making tables, chairs, all that stuff. All my friends went to high school with like 16-week holidays, while I had only four. And so it was really, really tough shit for a 16 year old. But I learned two important things. The first one was discipline; seven o'clock each day it started and lasted nine hours. And the second thing was precision; you have to do things right. People always said to me that the apprenticeship was good as I’d really use it for the rest of my life. And I always thought that was such bullshit. But actually, it's kind of true. And so anyways, the moment I finished my apprenticeship, the very last day of the last test, I went on the Interrail for one month and never went back to a carpenter shop.

PS: What’d you do after?

DS: I wrote a letter to this very super famous music guy, Claude Nobs who was organizing the Montreux Jazz Festival in Switzerland, telling him I’d like to work there that summer. I mentioned that I’d just finished my apprenticeship for carpentry. He phoned me back immediately after getting the letter. He said, “Oh you’re a carpenter? You can come right now.” He was renovating his apartment in Montreux. So I stayed and worked there alone while he was up at his chalet. I felt like Kevin McCallister from Home Alone in this completely furnished apartment. And then the festival started, and there was this guy from New York doing a large mural painting. It was Keith Haring. I had no idea who he was. We became friends. Then I met George Benson and Herbie Hancock. It started from nothing and then one thing comes, another thing comes, another thing comes. This is how I started, which is maybe not the natural way. But I was following my intuition and taking chances and putting myself out there.

PS: And you're going after what you have a passion for.

DS: I think that’s the best way to live one's life. It was like my own private art school. I met all the guys I was totally hot about. I met Joseph Beuys and told him I wanted to do an art project with him. I got his number and he told me to ask for his assistant. But I took everything for granted, what people said to me. So I had this phone number in Berlin. And I called the guy 20 times until this fucking meeting with Beuys finally happened. And we met and made a small collaboration art magazine called “Quer.” You just have to stick to the stuff.

PS: Wow. You don't still have one of those copies around, do you?

DS: I had one and I brought it to Remo at one of our meetings. Adrian saw it and immediately took it … I hope he gave it back to Remo. Adrian has a pile of my stuff that he wanted to see, so that’s good.

PS: Yeah, of any coffee table in the world for it to be displayed, his is probably in the top 10.

DS: So then I decided my dream was to be a film director. There was a film school in Berlin that I applied to. They only took about 18 people from 600. We waited all week to see this list on the wall for the final call back meeting. And my name wasn’t there. I was like, “Shit!” And then a week later, I received a letter saying I’d been accepted. Later the director told me it was clear enough with my application and the art magazine I’d sent that I’d be accepted. I don’t say this to brag. I say this to tell you that every young person that wants to go somewhere, all they have to do is fight. You have to get out of your house and your small town and your comfort zone and all that shit.

PS: I agree. So you’ve made films?

DS: I made a feature movie and went to the film festival. It was really amazing and everything, but I was not Tarantino, you know? So it’s the last semester and Tilda Swinton is supposed to teach a seminar. I really wanted to attend it. It would be the cherry on top of the cake. Then she postponed it once, then twice. The third time, I’m on the tube and there’s a woman in front of me with a newspaper that says that Tilda’s super mentor, Derek Jarman, had passed away. It’s the very Monday morning that her seminar is set to begin. And I thought, Oh shit. She’s not going to be there. But then she was there after all and it was a fantastic week. There were only five of us students and we all fell in love with her. And she fell in love with us. I’ve known her since.

PS: I can only imagine. How’d you make the transition into books?

DS: You have to find out what you're really good at. I had long discussions with this guru, an old guy who was a very diligent, very bright guy. I was really miserable, feeling directionless. He asked me why I wasn’t continuing with filmmaking. And I couldn't give him an answer. Then he said right into my face, “Probably it’s because you’re not good enough.” The message was one-hundred percent received. It was a relief; I'm not a bad person. This guy told me the truth, and I could accept it. And when you can do this, you can figure out what you actually want to do, what you’re actually good at. I started making books. I made one with another film director. And we visited Tilda at her hotel, bringing one to her as a present. As we’re knocking, I thought to myself, If I did another book focused on people in this business, it’d have to be her. And she opens the door, looks at the book and says, “Oh, I would like to have a book like this on me.”

PS: These situations seem unreal.

DS: I spent five years on her book, which was an enormous success. It included stills from all her films and launched it in different cities. Fantastic shit.

PS: And now you’ve just released this soon-to-be iconic CDG book.

DS: I've learned to be patient; things can take you years. This book with Adrian and Remo took two years and I didn’t even know if it was going to be approved! Follow your dreams as much as you can. It's not so important which dream it is exactly. If I see a step in front of me, I try to take each chance I get. This is what I wish for everybody, in whatever situation you find yourself, start to do something with nothing. This book started with just a simple idea. You can not find anything like this on the Internet, this compilation, this narrative. It’s something we had to bring together with enormous work. And here we are. I think in our digital, splattered times sometimes you have to make something which is real. That you can sit with and focus on in silence and really take time alone with it.