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Adding to its long list of artist collaborations, Supreme has announced a collaboration with cult visual artist Chris Cunningham, who is best known for his work with electronic music enigma Aphex Twin. Cunningham directed the disturbing videos for Aphex Twin’s “Come to Daddy” and “Windowlicker.”

His solo projects, meanwhile, are downright terrifying. The Aphex Twin-soundtracked experimental short Rubber Johnny from 2012 is a creepy standout and forms the basis of Cunningham’s Supreme collab. Their joint release includes tees and hoodies featuring imagery from the clip.

The artist’s music videos for Madonna and Björk put forward a more subtle dystopian vision. Cunningham has also worked on commercials, producing ads for Gucci, PlayStation, cellphone service provider Orange, Telecom Italia, and carmaker Nissan, managing somehow to weave his singular vision and sell perfume at the same time.

Before he became a director, Cunningham worked in special effects makeup, creating prosthetics for movies Alien 3, Alien: Resurrection, and Judge Dredd before leaving blockbuster movies behind for his own work. So the distorted faces in his films aren’t always a product of CGI — Cunningham actually makes the prosthetics for a lot of his videos, and in some cases even wears them himself.

Before copping the collab today, check out some of Cunningham’s most out there projects below.

Rubber Johnny

Released in 2005, Cunningham’s Rubber Johnny was years in the making, having been shot periodically between 2001 and 2004. With music by Aphex Twin, the short film is described as following “a 16-year-old inbred mutant’s solitary existence, locked in a pitch-black basement by his ashamed parents.” Fun fact: the mutant is played by Cunningham himself.

“Mental Wealth” PlayStation advert

PlayStation has a history of controversial ads, but the promo above is one of the creepiest. The clip centers on a Scottish girl with a distorted face who delivers a monologue entirely unrelated to video games. Of course.

Aphex Twin — “Come to Daddy”

Watching “Come to Daddy” is like stepping into a nightmare. The video is more than 20 years old and yet still makes you feel uneasy. Filmed in the same brutalist social housing neighborhood in London as A Clockwork Orange, the video follows an elderly woman as she tries to escape a series of terrifying interactions and Aphex Twin screams “I want your soul!” chillingly in the background.

Aphex Twin — “Windowlicker”

The video for Aphex Twin’s “Windowlicker” was Cunningham’s take on a stereotypical hip-hop video, albeit with the cast turning into horrific versions of Aphex Twin. Speaking to Pitchfork, however, Cunningham revealed that he feels he missed the mark. “I still don’t think it looks like a hip-hop video — I tried but I fucked it up,” he said.

Flex

While Flex doesn’t feature warped faces or aliens, it’s still a difficult, disturbing watch. At once beautiful and ugly, the 15-minute short (above is just a clip) shows a naked couple floating through darkness as they shift between embracing and violently attacking each other.

Björk — “All Is Full of Love”

Cunningham’s sci-fi video for Björk’s “All Is Full of Love” isn’t as creepy as the others, but the sight of two identical Björk-faced robots making out certainly has a dystopian vibe. The video was one of the artist’s most successful, winning two MTV Video Music Awards and bagging a Grammy nomination. It was more recently shown at New York’s Museum of Modern Art as part of a Björk retrospective.

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Senior Staff Writer

Berlin-based writer and Rihanna enthusiast.

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